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"content": "\u003cp>Now that \u003ci>Star Wars\u003c/i> creator George Lucas has given up on building a museum in Chicago and is looking again at bringing it to California, it also looks like its design will be different, even if slightly, according to the San Francisco Chronicle.\u003c/p>\n\u003cp>[contextly_sidebar id=”oSglLS6d55LrmnR4tNzFJE2EFI6zzh7n”]\u003c/p>\n\u003cp>Last week, the Chicago Tribune quoted Lucas saying that he was \u003ca href=\"http://ww2.kqed.org/news/2016/06/24/lucas-gives-up-on-plan-to-build-museum-in-chicago\" target=\"_blank\" rel=\"noopener\">abandoning plans to build the Lucas Museum of Narrative Art\u003c/a> on Lake Michigan’s waterfront after running into legal resistance from Chicago activists. There was talk of Lucas considering \u003ca href=\"http://www.sfchronicle.com/bayarea/article/Lucas-Museum-could-boost-Treasure-Island-transit-7513391.php\" target=\"_blank\" rel=\"noopener\">Treasure Island as a site\u003c/a> back in May, and now it looks like he will be choosing between there and Los Angeles, near the University of Southern California, his Alma Mater.\u003c/p>\n\u003cp>Over the weekend, Chronicle columnists \u003ca href=\"http://www.sfchronicle.com/bayarea/matier-ross/article/George-Lucas-SF-museum-Like-Chicago-but-this-8324501.php\" target=\"_blank\" rel=\"noopener\">Phil Matier and Andy Ross\u003c/a> reported that if Lucas chooses to build the museum on Treasure Island, he would have it redesigned to allow for views of the San Francisco Bay. \u003c/p>\n\u003cblockquote>\u003cp>“It’s quite iconic and still sculptural,” said one source connected to the planning for a possible San Francisco museum. However, unlike the largely windowless structure that Lucas hoped to build by Lake Michigan, a Treasure Island museum would be designed to give visitors sweeping views of the bay and city, said the source, speaking on condition of anonymity because the process is still in the early stages.\u003c/p>\u003c/blockquote>\n\u003cp>Deirdre Hussey, a spokesperson for San Francisco Mayor Ed Lee, said on Friday that Lee’s office and some supervisors “are working closely with the Lucas team to have a home for his world-class collection on Treasure Island.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Now that \u003ci>Star Wars\u003c/i> creator George Lucas has given up on building a museum in Chicago and is looking again at bringing it to California, it also looks like its design will be different, even if slightly, according to the San Francisco Chronicle.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Last week, the Chicago Tribune quoted Lucas saying that he was \u003ca href=\"http://ww2.kqed.org/news/2016/06/24/lucas-gives-up-on-plan-to-build-museum-in-chicago\" target=\"_blank\" rel=\"noopener\">abandoning plans to build the Lucas Museum of Narrative Art\u003c/a> on Lake Michigan’s waterfront after running into legal resistance from Chicago activists. There was talk of Lucas considering \u003ca href=\"http://www.sfchronicle.com/bayarea/article/Lucas-Museum-could-boost-Treasure-Island-transit-7513391.php\" target=\"_blank\" rel=\"noopener\">Treasure Island as a site\u003c/a> back in May, and now it looks like he will be choosing between there and Los Angeles, near the University of Southern California, his Alma Mater.\u003c/p>\n\u003cp>Over the weekend, Chronicle columnists \u003ca href=\"http://www.sfchronicle.com/bayarea/matier-ross/article/George-Lucas-SF-museum-Like-Chicago-but-this-8324501.php\" target=\"_blank\" rel=\"noopener\">Phil Matier and Andy Ross\u003c/a> reported that if Lucas chooses to build the museum on Treasure Island, he would have it redesigned to allow for views of the San Francisco Bay. \u003c/p>\n\u003cblockquote>\u003cp>“It’s quite iconic and still sculptural,” said one source connected to the planning for a possible San Francisco museum. However, unlike the largely windowless structure that Lucas hoped to build by Lake Michigan, a Treasure Island museum would be designed to give visitors sweeping views of the bay and city, said the source, speaking on condition of anonymity because the process is still in the early stages.\u003c/p>\u003c/blockquote>\n\u003cp>Deirdre Hussey, a spokesperson for San Francisco Mayor Ed Lee, said on Friday that Lee’s office and some supervisors “are working closely with the Lucas team to have a home for his world-class collection on Treasure Island.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"http://www.bet.com/video/betawards/2016/acceptance-speeches/jesse-williams-receives-humanitarian-award.share.responsive-true.html\" width=\"100%\" height=\"535\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[contextly_sidebar id=\"aWsmIHOpZj22g3OFlTbGyfo2hTCeCeQs\"]At the BET Awards on Sunday night, after receiving the network's humanitarian award, Jesse Williams began with the usual litany of thanks. Standing with a slight hunch over a too-short microphone, he celebrated his parents and his wife.\u003c/p>\n\u003cp>With that out of the way, the \u003cem>real \u003c/em>speech began.\u003c/p>\n\u003cp>\"This award, this is not for me,\" the activist and \u003cem>Grey's Anatomy\u003c/em> star said. He honored activists, civil rights attorneys, parents, teachers, and \"the students that are realizing that a system built to divide and impoverish and destroy us cannot stand if we do.\" He particularly celebrated black women.\u003c/p>\n\u003cp>He condemned police brutality against people of color: \"What we've been doing is looking at the data, and we know that police somehow manage to de-escalate, disarm and not kill white people every day. So what's gonna happen is we are going to have equal rights and justice in our own country, or we will restructure their function, and ours.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The crowd rose in a standing ovation.\u003c/p>\n\u003cp>\"I got more, y'all,\" Williams said.\u003c/p>\n\u003cp>\"I don't want to hear anymore about how far we've come when paid public servants can pull a drive-by on a 12-year-old playing alone in a park in broad daylight, killing him on television and then going home to make a sandwich,\" he said, invoking the name of not just \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/04/25/475583746/cleveland-to-pay-6-million-to-settle-tamir-rice-lawsuit\" target=\"_blank\">Tamir Rice\u003c/a> but also \u003ca href=\"https://soundcloud.com/afternoonshiftwbez/judge-dismisses-all-charges-against-cpd-detective-in-rekia-boyd-shooting-death\" target=\"_blank\">Rekia Boyd\u003c/a> and \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/07/13/422703725/nyc-settles-with-family-of-eric-garner-for-5-9-million\" target=\"_blank\">Eric Garner\u003c/a> and \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/03/23/471551331/former-trooper-pleads-not-guilty-to-perjury-over-arrest-of-sandra-bland\" target=\"_blank\">Sandra Bland\u003c/a> and \u003ca href=\"http://kutv.com/news/local/judge-dismisses-darrien-hunt-fatal-police-shooting-suit-appeal-possible\" target=\"_blank\">Darrien Hunt\u003c/a>.\u003c/p>\n\u003cp>Then he told a room packed with black celebrities that just making money \"isn't gonna stop this.\" He continued:\u003c/p>\n\u003cblockquote>\u003cp>\"There has been no war that we have not fought and died on the front lines of. There has been no job we haven't done. There's no tax they haven't levied against us. And we've paid all of them. But freedom is somehow always conditional here. 'You're free,' they keep telling us. 'But she would have been alive if she hadn't acted so — \u003cem>free\u003c/em>.'\u003c/p>\n\u003cp>\"Now, freedom is always coming in the hereafter. But you know what, though? The hereafter is a hustle. We want it now.\"\u003c/p>\u003c/blockquote>\n\u003cp>He excoriated those who criticize black activists but don't call out oppression and brutality. And he had sharp words for those who profit off black culture without promoting black equality.\u003c/p>\n\u003cp>\"We've been floating this country on credit for centuries, yo, and we're done watching and waiting while this invention called whiteness uses and abuses us, burying black people out of sight and out of mind, while extracting our culture, our dollars, our entertainment like oil — black gold. Ghettoizing and demeaning our creations then stealing them, gentrifying our genius and then trying us on like costumes before discarding our bodies like rinds of strange fruit,\" Williams said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can watch \u003ca href=\"http://www.bet.com/video/betawards/2016/acceptance-speeches/jesse-williams-receives-humanitarian-award.html\" target=\"_blank\">the whole video\u003c/a> above.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=WATCH%3A+Jesse+Williams+On+Black+Lives%2C+Equal+Rights+And+Freedom&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The crowd rose in a standing ovation.\u003c/p>\n\u003cp>\"I got more, y'all,\" Williams said.\u003c/p>\n\u003cp>\"I don't want to hear anymore about how far we've come when paid public servants can pull a drive-by on a 12-year-old playing alone in a park in broad daylight, killing him on television and then going home to make a sandwich,\" he said, invoking the name of not just \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/04/25/475583746/cleveland-to-pay-6-million-to-settle-tamir-rice-lawsuit\" target=\"_blank\">Tamir Rice\u003c/a> but also \u003ca href=\"https://soundcloud.com/afternoonshiftwbez/judge-dismisses-all-charges-against-cpd-detective-in-rekia-boyd-shooting-death\" target=\"_blank\">Rekia Boyd\u003c/a> and \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/07/13/422703725/nyc-settles-with-family-of-eric-garner-for-5-9-million\" target=\"_blank\">Eric Garner\u003c/a> and \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/03/23/471551331/former-trooper-pleads-not-guilty-to-perjury-over-arrest-of-sandra-bland\" target=\"_blank\">Sandra Bland\u003c/a> and \u003ca href=\"http://kutv.com/news/local/judge-dismisses-darrien-hunt-fatal-police-shooting-suit-appeal-possible\" target=\"_blank\">Darrien Hunt\u003c/a>.\u003c/p>\n\u003cp>Then he told a room packed with black celebrities that just making money \"isn't gonna stop this.\" He continued:\u003c/p>\n\u003cblockquote>\u003cp>\"There has been no war that we have not fought and died on the front lines of. There has been no job we haven't done. There's no tax they haven't levied against us. And we've paid all of them. But freedom is somehow always conditional here. 'You're free,' they keep telling us. 'But she would have been alive if she hadn't acted so — \u003cem>free\u003c/em>.'\u003c/p>\n\u003cp>\"Now, freedom is always coming in the hereafter. But you know what, though? The hereafter is a hustle. We want it now.\"\u003c/p>\u003c/blockquote>\n\u003cp>He excoriated those who criticize black activists but don't call out oppression and brutality. And he had sharp words for those who profit off black culture without promoting black equality.\u003c/p>\n\u003cp>\"We've been floating this country on credit for centuries, yo, and we're done watching and waiting while this invention called whiteness uses and abuses us, burying black people out of sight and out of mind, while extracting our culture, our dollars, our entertainment like oil — black gold. Ghettoizing and demeaning our creations then stealing them, gentrifying our genius and then trying us on like costumes before discarding our bodies like rinds of strange fruit,\" Williams said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can watch \u003ca href=\"http://www.bet.com/video/betawards/2016/acceptance-speeches/jesse-williams-receives-humanitarian-award.html\" target=\"_blank\">the whole video\u003c/a> above.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=WATCH%3A+Jesse+Williams+On+Black+Lives%2C+Equal+Rights+And+Freedom&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>[contextly_sidebar id=\"DTeLk36yQMgO2Zg2fdDQmQFL2wpaixAx\"]Justin Timberlake means a lot of things to people. Maybe he was your first crush back in the NSYNC days. Maybe he emboldened you to try out \u003ca href=\"http://esq.h-cdn.co/assets/cm/15/07/54da4e972127b_-_justin-timberlake-wi-0608-lg-18970743.jpg\">an all-denim look\u003c/a> or \u003ca href=\"http://cdn-wpmsa.defymedia.com/wp-content/uploads/sites/3/2015/01/justin-timberlake-ramen-noodles-birthday-collage.jpg\">an edgy Ramen noodle hairstyle\u003c/a>. Or maybe he taught you a lesson about the Teflon nature of white male privilege and how, for some, nothing bad sticks.\u003c/p>\n\u003cp>But times are a-changing. Last night at the BET Awards, Jesse Williams delivered a speech that will blast your understanding of what getting goosebumps feels like to all-new stratospheric levels.\u003c/p>\n\u003cp>If you don't have time to \u003ca href=\"http://ww2.kqed.org/pop/2016/06/27/watch-jesse-williams-on-black-lives-equal-rights-and-freedom/\">watch it in full\u003c/a>, make time. If that's not possible for some reason (nosy boss, bad internet connection, what have you), here are some choice lines that'll give you an idea of what we're working with here:\u003c/p>\n\u003cul>\n\u003cli>\u003ci>\"Police somehow manage to deescalate, disarm and not kill white people everyday. So what's going to happen is we are going to have equal rights and justice in our own country or we will restructure their function and ours.\"\u003c/i>\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>\u003ci>\"The burden of the brutalized is not to comfort the bystander. That's not our job, alright - stop with all that. If you have a critique for the resistance, for our resistance, then you better have an established record of critique of our oppression. If you have no interest in equal rights for black people, then do not make suggestions to those who do. Sit down.\"\u003c/i>\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>\u003ci>\"We've been floating this country on credit for centuries, yo, and we're done watching and waiting while this invention called whiteness uses and abuses us, burying black people out of sight and out of mind while extracting our culture, our dollars, our entertainment like oil - black gold, ghettoizing and demeaning our creations then stealing them, gentrifying our genius and then trying us on like costumes before discarding our bodies like rinds of strange fruit. Just because we're magic doesn't mean we're not real.\"\u003c/i>\u003c/li>\n\u003c/ul>\n\u003cp>Justin Timberlake was presumably watching at home and felt moved, as anyone should. He decided to tweet from his glass house.\u003c/p>\n\u003cp>https://twitter.com/jtimberlake/status/747257470314131456\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Seems harmless. Jesse does deserve props for that speech. But there is an absurd lack of self-awareness at work here. One of the major points of Jesse's speech is that black art is so often devalued, only to be appropriated by white people and reevaluated as suddenly worthy. No one knows this better than Justin Timberlake, who has made a career out of \u003ca href=\"https://www.youtube.com/watch?v=RXl4DB34yTk\">co-opting black culture \u003c/a>and gaining the kind of success that is rarely afforded to those who originated it.\u003c/p>\n\u003cp>Twitter helpfully pointed this out for him:\u003c/p>\n\u003cp>https://twitter.com/MrErnestOwens/status/747273043379052544\u003c/p>\n\u003cp>This is where Justin should have logged off. But no:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/sweet-soul_1.png\">\u003cimg src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/sweet-soul_1-800x339.png\" alt=\"sweet soul_1\" width=\"800\" height=\"339\" class=\"aligncenter size-medium wp-image-33628\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/06/sweet-soul_1-800x339.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/sweet-soul_1-400x170.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/sweet-soul_1-768x326.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/sweet-soul_1-960x407.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/sweet-soul_1.png 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>A one-two punch of condescension (\"sweet soul\"? really?!) and #AllLivesMatter / #We'reAllAfrican sentiment? Plus, a sardonic \"bye\" send-off? Justin, you are not Beyonce and people on Twitter speaking truth are not Felicia.\u003c/p>\n\u003cp>https://twitter.com/CerromeRussell/status/747404875445768192?ref_src=twsrc%5Etfw\u003c/p>\n\u003cp>https://twitter.com/Felonious_munk/status/747283831753838592?ref_src=twsrc%5Etfw\u003c/p>\n\u003cp>https://twitter.com/Princesskeshia1/status/747358805281873924?ref_src=twsrc%5Etfw\u003c/p>\n\u003cp>Yes, Justin, we are all human beings and \u003cem>should\u003c/em> be treated equally, but that's not our current reality. When someone from a marginalized group expresses his or her feelings on their lived experience, it is not appropriate to step in and say something that makes their message about you. Sometimes the best way to be an ally is to know when to stop talking and start listening.\u003c/p>\n\u003cp>For over a decade, Justin has gotten away with being mediocre (\u003ca href=\"https://www.youtube.com/watch?v=p5RobDomh5U\">his last single\u003c/a>, which is horrible, went straight to #1) and being a coward (lest we forget how he left Janet Jackson out to dry, after ripping her Super Bowl Halftime outfit). Judging by the response to \u003ca href=\"http://ww2.kqed.org/pop/2016/02/04/nipplegate-revisited-why-america-owes-janet-jackson-a-huge-apology/\">an essay I wrote earlier this year about Nipplegate\u003c/a>, it seems like many \u003cem>have\u003c/em> forgotten. For those who missed it, here's something to chew on:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>When he sings, “Better have you naked by the end of this song,” he was supposed to pull Janet’s bustier to reveal a red lace bra, but both pieces ended up ripping off.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Then everyone got insanely mad at Justin for messing up. Oh, wait, sorry, I forgot about the patriarchy for a second. Let me try that again: then everyone got insanely mad at Janet for having breasts and no one ever really mentioned Justin again. For example, The Washington Post’s Tony Kornheiser wrote, “What Janet Jackson did was bizarre, deliberately flopping out of her costume like that.” Justin’s grabbing hand is entirely erased from the scene.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The senseless sexism didn’t end there. Janet was disinvited from that year’s Grammys. Meanwhile, Justin was not only allowed to attend, but also performed. Janet was blacklisted from radio and music video channels for the next several years, leading to multiple album flops, while Justin got to be goofy on SNL and become a movie star.\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>And what's worse is that Justin let Janet take all the heat, more concerned with making it as a solo artist than doing the right thing. Granted, the way America so easily absolved him of any wrongdoing wasn't really up to him and speaks to a national legacy of racism and sexism that's far bigger than one single boy band member. But what was up to him was whether or not he used his privilege to highlight the unfair advantage he enjoys in this world and the hypocrisy of it all.\u003c/p>\n\u003cp>If Twitter had been around back in 2004, maybe Janet and Justin's career trajectories would have taken different courses. Maybe so many wouldn't have kept quiet as Justin moonwalked away from the mess he helped create, using Janet's brother's appropriated dance moves to boot. There's no way to know.\u003c/p>\n\u003cp>Today, Justin apologized for his tweet and says he feels \"misunderstood.\" So does Janet. So do many African Americans. So do most people who aren't straight white dudes.\u003c/p>\n\u003cp>It's time for Justin to take a seat and some of his own medicine, the same dose he prescribed for Britney, another woman he used and then discarded to get to where he is today: Cry me a river.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/giphy-1.gif\">\u003cimg class=\"aligncenter size-full wp-image-28050\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/giphy-1.gif\" alt=\"justin cry me a river gif\" width=\"595\" height=\"335\">\u003c/a>\u003c/p>\n\u003cp>\u003cem>To learn more about how troubling Nipplegate really was, listen to this episode of The Cooler:\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/245551173&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>Or read all about it:\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>http://ww2.kqed.org/pop/2016/02/04/nipplegate-revisited-why-america-owes-janet-jackson-a-huge-apology/\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>Justin Timberlake means a lot of things to people. Maybe he was your first crush back in the NSYNC days. Maybe he emboldened you to try out \u003ca href=\"http://esq.h-cdn.co/assets/cm/15/07/54da4e972127b_-_justin-timberlake-wi-0608-lg-18970743.jpg\">an all-denim look\u003c/a> or \u003ca href=\"http://cdn-wpmsa.defymedia.com/wp-content/uploads/sites/3/2015/01/justin-timberlake-ramen-noodles-birthday-collage.jpg\">an edgy Ramen noodle hairstyle\u003c/a>. Or maybe he taught you a lesson about the Teflon nature of white male privilege and how, for some, nothing bad sticks.\u003c/p>\n\u003cp>But times are a-changing. Last night at the BET Awards, Jesse Williams delivered a speech that will blast your understanding of what getting goosebumps feels like to all-new stratospheric levels.\u003c/p>\n\u003cp>If you don't have time to \u003ca href=\"http://ww2.kqed.org/pop/2016/06/27/watch-jesse-williams-on-black-lives-equal-rights-and-freedom/\">watch it in full\u003c/a>, make time. If that's not possible for some reason (nosy boss, bad internet connection, what have you), here are some choice lines that'll give you an idea of what we're working with here:\u003c/p>\n\u003cul>\n\u003cli>\u003ci>\"Police somehow manage to deescalate, disarm and not kill white people everyday. So what's going to happen is we are going to have equal rights and justice in our own country or we will restructure their function and ours.\"\u003c/i>\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>\u003ci>\"The burden of the brutalized is not to comfort the bystander. That's not our job, alright - stop with all that. If you have a critique for the resistance, for our resistance, then you better have an established record of critique of our oppression. If you have no interest in equal rights for black people, then do not make suggestions to those who do. Sit down.\"\u003c/i>\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>\u003ci>\"We've been floating this country on credit for centuries, yo, and we're done watching and waiting while this invention called whiteness uses and abuses us, burying black people out of sight and out of mind while extracting our culture, our dollars, our entertainment like oil - black gold, ghettoizing and demeaning our creations then stealing them, gentrifying our genius and then trying us on like costumes before discarding our bodies like rinds of strange fruit. Just because we're magic doesn't mean we're not real.\"\u003c/i>\u003c/li>\n\u003c/ul>\n\u003cp>Justin Timberlake was presumably watching at home and felt moved, as anyone should. He decided to tweet from his glass house.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Seems harmless. Jesse does deserve props for that speech. But there is an absurd lack of self-awareness at work here. One of the major points of Jesse's speech is that black art is so often devalued, only to be appropriated by white people and reevaluated as suddenly worthy. No one knows this better than Justin Timberlake, who has made a career out of \u003ca href=\"https://www.youtube.com/watch?v=RXl4DB34yTk\">co-opting black culture \u003c/a>and gaining the kind of success that is rarely afforded to those who originated it.\u003c/p>\n\u003cp>Twitter helpfully pointed this out for him:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>This is where Justin should have logged off. But no:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/sweet-soul_1.png\">\u003cimg src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/sweet-soul_1-800x339.png\" alt=\"sweet soul_1\" width=\"800\" height=\"339\" class=\"aligncenter size-medium wp-image-33628\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/06/sweet-soul_1-800x339.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/sweet-soul_1-400x170.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/sweet-soul_1-768x326.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/sweet-soul_1-960x407.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/sweet-soul_1.png 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>A one-two punch of condescension (\"sweet soul\"? really?!) and #AllLivesMatter / #We'reAllAfrican sentiment? Plus, a sardonic \"bye\" send-off? Justin, you are not Beyonce and people on Twitter speaking truth are not Felicia.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Yes, Justin, we are all human beings and \u003cem>should\u003c/em> be treated equally, but that's not our current reality. When someone from a marginalized group expresses his or her feelings on their lived experience, it is not appropriate to step in and say something that makes their message about you. Sometimes the best way to be an ally is to know when to stop talking and start listening.\u003c/p>\n\u003cp>For over a decade, Justin has gotten away with being mediocre (\u003ca href=\"https://www.youtube.com/watch?v=p5RobDomh5U\">his last single\u003c/a>, which is horrible, went straight to #1) and being a coward (lest we forget how he left Janet Jackson out to dry, after ripping her Super Bowl Halftime outfit). Judging by the response to \u003ca href=\"http://ww2.kqed.org/pop/2016/02/04/nipplegate-revisited-why-america-owes-janet-jackson-a-huge-apology/\">an essay I wrote earlier this year about Nipplegate\u003c/a>, it seems like many \u003cem>have\u003c/em> forgotten. For those who missed it, here's something to chew on:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>When he sings, “Better have you naked by the end of this song,” he was supposed to pull Janet’s bustier to reveal a red lace bra, but both pieces ended up ripping off.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Then everyone got insanely mad at Justin for messing up. Oh, wait, sorry, I forgot about the patriarchy for a second. Let me try that again: then everyone got insanely mad at Janet for having breasts and no one ever really mentioned Justin again. For example, The Washington Post’s Tony Kornheiser wrote, “What Janet Jackson did was bizarre, deliberately flopping out of her costume like that.” Justin’s grabbing hand is entirely erased from the scene.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The senseless sexism didn’t end there. Janet was disinvited from that year’s Grammys. Meanwhile, Justin was not only allowed to attend, but also performed. Janet was blacklisted from radio and music video channels for the next several years, leading to multiple album flops, while Justin got to be goofy on SNL and become a movie star.\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>And what's worse is that Justin let Janet take all the heat, more concerned with making it as a solo artist than doing the right thing. Granted, the way America so easily absolved him of any wrongdoing wasn't really up to him and speaks to a national legacy of racism and sexism that's far bigger than one single boy band member. But what was up to him was whether or not he used his privilege to highlight the unfair advantage he enjoys in this world and the hypocrisy of it all.\u003c/p>\n\u003cp>If Twitter had been around back in 2004, maybe Janet and Justin's career trajectories would have taken different courses. Maybe so many wouldn't have kept quiet as Justin moonwalked away from the mess he helped create, using Janet's brother's appropriated dance moves to boot. There's no way to know.\u003c/p>\n\u003cp>Today, Justin apologized for his tweet and says he feels \"misunderstood.\" So does Janet. So do many African Americans. So do most people who aren't straight white dudes.\u003c/p>\n\u003cp>It's time for Justin to take a seat and some of his own medicine, the same dose he prescribed for Britney, another woman he used and then discarded to get to where he is today: Cry me a river.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/giphy-1.gif\">\u003cimg class=\"aligncenter size-full wp-image-28050\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/giphy-1.gif\" alt=\"justin cry me a river gif\" width=\"595\" height=\"335\">\u003c/a>\u003c/p>\n\u003cp>\u003cem>To learn more about how troubling Nipplegate really was, listen to this episode of The Cooler:\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/245551173&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>Or read all about it:\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Snapshots From S.F. Pride: A Celebration in Defiance of Hate",
"title": "Snapshots From S.F. Pride: A Celebration in Defiance of Hate",
"headTitle": "News Fix | KQED News",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">This year’s 46th annual San Francisco Pride Celebration was charged with an energy that was at once hopeful and conflicted.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sunday’s event is just two weeks after 49 people were gunned down at Pulse, a gay nightclub in Orlando, Florida. Though the pain is fresh, tens of thousands of LGBTQ folks from the Bay Area and around the world came out to the nation’s largest pride parade and celebration. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11001833\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001833\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs13-800x552.jpg\" alt=\"Three friends console each other in front of a memorial for the victims of the Pulse Nightclub shooting in Orlando, Florida on the corner of 18th and Castro Streets.\" width=\"800\" height=\"552\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs13-800x552.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs13-400x276.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs13.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs13-1180x814.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs13-960x663.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three friends console each other in front of a memorial for the victims of the Pulse Nightclub shooting in Orlando, Florida on the corner of 18th and Castro Streets. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sierra Valencia consoles her roommate Ryan Kleiner at a memorial for the victims of the Pulse Nightclub shooting in Orlando, Florida on the corner of 18th and Castro Streets. It's their first San Francisco Pride but their friend Tyler Adamson (right) has been to a different Pride celebration every weekend this month.\u003c/p>\n\u003cfigure id=\"attachment_11001834\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001834\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs10-800x1142.jpg\" alt=\"Father and daughter watch this years's San Francisco Pride Parade. \" width=\"800\" height=\"1142\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs10-800x1142.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs10-400x571.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs10.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs10-1180x1685.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs10-960x1371.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Father and daughter watch this years's San Francisco Pride Parade. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Patrik Lundh carries his 3-year-old daughter, Anika Nayak-Lundh on his shoulders. Lundh says that the Orlando shooting only made me want to celebrate Pride more, to feel the unity against the hatred with so many horrible things happening in the world right now. Pride for Lundh means \"tolerance, love, openness and hope.\"\u003c/p>\n\u003cfigure id=\"attachment_11001835\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001835\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs06-800x533.jpg\" alt=\"Ralph Boethling skates on the sidelines of the parade.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs06-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs06-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs06.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs06-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs06-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Boethling skates on the sidelines of the parade. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ralph Boethling, with the Church of 8 Wheels, skated around the parade. \"People just want to love each other,\" says Boethling. \"What could possibly be wrong with that?\" Boethling has been coming to Pride for almost 10 years.\u003c/p>\n\u003cfigure id=\"attachment_11001838\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001838\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs08-800x533.jpg\" alt=\"Crowds bottleneck at the top of the stairway at Civic Center BART. \" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs08-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs08-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs08.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs08-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs08-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Crowds bottleneck at the top of the stairway at Civic Center BART. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The parade started at the Embarcadero and followed along Market Street for almost two miles before ending at the Civic Center Plaza where parade-goers were met with metal detectors and police screening.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some groups were notably not in attendance. When SF Pride organizers announced last week that a \u003ca href=\"http://ww2.kqed.org/news/2016/06/22/what-you-need-to-know-for-pride-this-weekend-expect-increased-security\">greater police presence\u003c/a> would include screening by officers, organizational grand marshal Black Lives Matter withdrew from the event.\u003c/p>\n\u003cfigure id=\"attachment_11001843\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11001843 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs20-800x1289.jpg\" alt=\"Tens of thousands of people were in attendance during the San Francisco Pride Celebration and Parade.\" width=\"800\" height=\"1289\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs20-800x1289.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs20-400x645.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs20.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs20-1180x1902.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs20-960x1547.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tens of thousands of people were in attendance during the San Francisco Pride Celebration and Parade. \u003ccite>( Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The increased police presence at Civic Center, as well as the ban on shopping carts and items typically belonging to marginally housed and homeless people will only make Pride less safe and accessible to our communities,” said Stephany Ashley \u003ca href=\"http://blacklivesmatter.com/in-response-to-increased-policing-of-civic-center-grand-marshals-awardees-withdraw-from-participation-in-pride-parade/\">in a press release\u003c/a> from the Black Lives Matter Network. Ashley is the executive director of San Francisco’s St. James Infirmary, a free clinic for sex workers and their families. “These policies do not reflect the theme of racial and economic justice which we sought to march under proudly.”\u003c/p>\n\u003cp>St. James Infirmary was slated to receive the Heritage of Pride Award.\u003c/p>\n\u003cp class=\"p1\">“I understand why they did it,\" says Michael Albert, 63, San Francisco resident who has been coming to SF Pride since the late 1980s. \"I’m not sure it’s necessary; it’s more than we needed. But I’m not going to second guess the people that are running this. “\u003c/p>\n\u003cfigure id=\"attachment_11001836\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11001836 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs07-800x559.jpg\" alt=\"Two friends hang from a light post in order to get a better view of the parade.\" width=\"800\" height=\"559\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs07-800x559.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs07-400x280.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs07.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs07-1180x825.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs07-960x671.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two friends hang from a light post in order to get a better view of the parade. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"This pole has become a tradition,\" says Matilda Holtz (on the right). \"We're too short to see through the crowd.\"\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cfigure id=\"attachment_11001839\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001839\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs12-800x549.jpg\" alt=\"Two people from Sonoma County Pride march in San Francisco's Pride Parade.\" width=\"800\" height=\"549\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs12-800x549.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs12-400x274.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs12.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs12-1180x809.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs12-960x659.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two people from Sonoma County Pride march in San Francisco's Pride Parade. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11001840\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001840\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs14-800x570.jpg\" alt=\"Two Castro district residents take a moment of silence in front of a memorial for the victims of the Pulse Nightclub shooting in Orlando, Florida on the corner of 18th and Castro Streets.\" width=\"800\" height=\"570\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs14-800x570.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs14-400x285.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs14.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs14-1180x841.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs14-960x684.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two Castro district residents take a moment of silence in front of a memorial for the victims of the Pulse Nightclub shooting in Orlando, Florida on the corner of 18th and Castro Streets. \u003ccite>( Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ivy Schlegel is a Castro resident and chose not to attend this year's Pride parade. She says that the parade is too much of a corporate march and went to the Dyke March on Saturday instead.\u003c/p>\n\u003cfigure id=\"attachment_11001841\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001841\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs05-800x536.jpg\" alt=\"Parade-goers from Salesforce were one of many corporations marching in this year's parade.\" width=\"800\" height=\"536\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs05-800x536.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs05-400x268.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs05.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs05-1180x790.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs05-960x643.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Parade-goers from Salesforce were one of many corporations marching in this year's parade. \u003ccite>( Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Salesforce was one of many corporations marching in uniform.\u003c/p>\n\u003cfigure id=\"attachment_11001842\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001842\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs18-800x512.jpg\" alt=\"A man holding a sign supporting Pride on behalf of the SF Sheriff's Department marches down Market Street.\" width=\"800\" height=\"512\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs18-800x512.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs18-400x256.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs18.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs18-1180x755.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs18-960x615.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A man holding a sign supporting Pride on behalf of the SF Sheriff's Department marches down Market Street. \u003ccite>( Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11001837\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001837\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs11-800x533.jpg\" alt=\"Two friends travel from Melbourne, Australia to participate in San Francisco's Pride Parade.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs11-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs11-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs11.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs11-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs11-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two friends travel from Melbourne, Australia to participate in San Francisco's Pride Parade. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco Pride is one of the world's most notable Pride celebrations. Matthew Wade (center) and Chrisi Camp came all the way from Australia to support San Francisco's LGBTQ community by volunteering at queer film festival Frameline.\u003c/p>\n\u003cp>\"In Melbourne we have Pride celebrations but nothing compared to SF,\" says Wade.\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "This year’s 46th annual San Francisco Pride Celebration was charged with an energy that was at once hopeful and conflicted.\r\n\r\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">This year’s 46th annual San Francisco Pride Celebration was charged with an energy that was at once hopeful and conflicted.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sunday’s event is just two weeks after 49 people were gunned down at Pulse, a gay nightclub in Orlando, Florida. Though the pain is fresh, tens of thousands of LGBTQ folks from the Bay Area and around the world came out to the nation’s largest pride parade and celebration. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11001833\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001833\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs13-800x552.jpg\" alt=\"Three friends console each other in front of a memorial for the victims of the Pulse Nightclub shooting in Orlando, Florida on the corner of 18th and Castro Streets.\" width=\"800\" height=\"552\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs13-800x552.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs13-400x276.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs13.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs13-1180x814.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs13-960x663.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three friends console each other in front of a memorial for the victims of the Pulse Nightclub shooting in Orlando, Florida on the corner of 18th and Castro Streets. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sierra Valencia consoles her roommate Ryan Kleiner at a memorial for the victims of the Pulse Nightclub shooting in Orlando, Florida on the corner of 18th and Castro Streets. It's their first San Francisco Pride but their friend Tyler Adamson (right) has been to a different Pride celebration every weekend this month.\u003c/p>\n\u003cfigure id=\"attachment_11001834\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001834\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs10-800x1142.jpg\" alt=\"Father and daughter watch this years's San Francisco Pride Parade. \" width=\"800\" height=\"1142\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs10-800x1142.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs10-400x571.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs10.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs10-1180x1685.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs10-960x1371.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Father and daughter watch this years's San Francisco Pride Parade. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Patrik Lundh carries his 3-year-old daughter, Anika Nayak-Lundh on his shoulders. Lundh says that the Orlando shooting only made me want to celebrate Pride more, to feel the unity against the hatred with so many horrible things happening in the world right now. Pride for Lundh means \"tolerance, love, openness and hope.\"\u003c/p>\n\u003cfigure id=\"attachment_11001835\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001835\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs06-800x533.jpg\" alt=\"Ralph Boethling skates on the sidelines of the parade.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs06-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs06-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs06.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs06-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs06-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Boethling skates on the sidelines of the parade. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ralph Boethling, with the Church of 8 Wheels, skated around the parade. \"People just want to love each other,\" says Boethling. \"What could possibly be wrong with that?\" Boethling has been coming to Pride for almost 10 years.\u003c/p>\n\u003cfigure id=\"attachment_11001838\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001838\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs08-800x533.jpg\" alt=\"Crowds bottleneck at the top of the stairway at Civic Center BART. \" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs08-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs08-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs08.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs08-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs08-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Crowds bottleneck at the top of the stairway at Civic Center BART. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The parade started at the Embarcadero and followed along Market Street for almost two miles before ending at the Civic Center Plaza where parade-goers were met with metal detectors and police screening.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some groups were notably not in attendance. When SF Pride organizers announced last week that a \u003ca href=\"http://ww2.kqed.org/news/2016/06/22/what-you-need-to-know-for-pride-this-weekend-expect-increased-security\">greater police presence\u003c/a> would include screening by officers, organizational grand marshal Black Lives Matter withdrew from the event.\u003c/p>\n\u003cfigure id=\"attachment_11001843\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11001843 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs20-800x1289.jpg\" alt=\"Tens of thousands of people were in attendance during the San Francisco Pride Celebration and Parade.\" width=\"800\" height=\"1289\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs20-800x1289.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs20-400x645.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs20.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs20-1180x1902.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs20-960x1547.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tens of thousands of people were in attendance during the San Francisco Pride Celebration and Parade. \u003ccite>( Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The increased police presence at Civic Center, as well as the ban on shopping carts and items typically belonging to marginally housed and homeless people will only make Pride less safe and accessible to our communities,” said Stephany Ashley \u003ca href=\"http://blacklivesmatter.com/in-response-to-increased-policing-of-civic-center-grand-marshals-awardees-withdraw-from-participation-in-pride-parade/\">in a press release\u003c/a> from the Black Lives Matter Network. Ashley is the executive director of San Francisco’s St. James Infirmary, a free clinic for sex workers and their families. “These policies do not reflect the theme of racial and economic justice which we sought to march under proudly.”\u003c/p>\n\u003cp>St. James Infirmary was slated to receive the Heritage of Pride Award.\u003c/p>\n\u003cp class=\"p1\">“I understand why they did it,\" says Michael Albert, 63, San Francisco resident who has been coming to SF Pride since the late 1980s. \"I’m not sure it’s necessary; it’s more than we needed. But I’m not going to second guess the people that are running this. “\u003c/p>\n\u003cfigure id=\"attachment_11001836\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11001836 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs07-800x559.jpg\" alt=\"Two friends hang from a light post in order to get a better view of the parade.\" width=\"800\" height=\"559\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs07-800x559.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs07-400x280.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs07.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs07-1180x825.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs07-960x671.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two friends hang from a light post in order to get a better view of the parade. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"This pole has become a tradition,\" says Matilda Holtz (on the right). \"We're too short to see through the crowd.\"\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cfigure id=\"attachment_11001839\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001839\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs12-800x549.jpg\" alt=\"Two people from Sonoma County Pride march in San Francisco's Pride Parade.\" width=\"800\" height=\"549\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs12-800x549.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs12-400x274.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs12.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs12-1180x809.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs12-960x659.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two people from Sonoma County Pride march in San Francisco's Pride Parade. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11001840\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001840\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs14-800x570.jpg\" alt=\"Two Castro district residents take a moment of silence in front of a memorial for the victims of the Pulse Nightclub shooting in Orlando, Florida on the corner of 18th and Castro Streets.\" width=\"800\" height=\"570\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs14-800x570.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs14-400x285.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs14.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs14-1180x841.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs14-960x684.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two Castro district residents take a moment of silence in front of a memorial for the victims of the Pulse Nightclub shooting in Orlando, Florida on the corner of 18th and Castro Streets. \u003ccite>( Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ivy Schlegel is a Castro resident and chose not to attend this year's Pride parade. She says that the parade is too much of a corporate march and went to the Dyke March on Saturday instead.\u003c/p>\n\u003cfigure id=\"attachment_11001841\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001841\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs05-800x536.jpg\" alt=\"Parade-goers from Salesforce were one of many corporations marching in this year's parade.\" width=\"800\" height=\"536\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs05-800x536.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs05-400x268.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs05.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs05-1180x790.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs05-960x643.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Parade-goers from Salesforce were one of many corporations marching in this year's parade. \u003ccite>( Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Salesforce was one of many corporations marching in uniform.\u003c/p>\n\u003cfigure id=\"attachment_11001842\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001842\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs18-800x512.jpg\" alt=\"A man holding a sign supporting Pride on behalf of the SF Sheriff's Department marches down Market Street.\" width=\"800\" height=\"512\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs18-800x512.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs18-400x256.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs18.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs18-1180x755.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs18-960x615.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A man holding a sign supporting Pride on behalf of the SF Sheriff's Department marches down Market Street. \u003ccite>( Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11001837\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001837\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs11-800x533.jpg\" alt=\"Two friends travel from Melbourne, Australia to participate in San Francisco's Pride Parade.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs11-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs11-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs11.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs11-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs11-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two friends travel from Melbourne, Australia to participate in San Francisco's Pride Parade. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco Pride is one of the world's most notable Pride celebrations. Matthew Wade (center) and Chrisi Camp came all the way from Australia to support San Francisco's LGBTQ community by volunteering at queer film festival Frameline.\u003c/p>\n\u003cp>\"In Melbourne we have Pride celebrations but nothing compared to SF,\" says Wade.\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>President Obama is designating a new national monument around the Stonewall Inn, the birthplace of the modern gay rights movement.\u003c/p>\n\u003cp>The Stonewall National Monument in New York City will be the first addition to the National Park System specifically highlighting the history of the LGBT community.\u003c/p>\n\u003cp>The monument covers nearly 8 acres in New York’s Greenwich Village including a landmark gay bar, the Stonewall Inn. In June of 1969, patrons at the bar fought back against police persecution — an event that’s widely seen as a watershed in the campaign for LGBT rights.\u003c/p>\n\u003cp>“Raids like these were nothing new, but this time the patrons had had enough,” Obama said in a White House video announcing the new monument. “So they stood up and spoke out. The riots became protests. The protests became a movement. The movement ultimately became an integral part of America.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ywtvJyXDWkk\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Obama had previously highlighted the significance of Stonewall in his second inaugural address, weaving the battle for gay rights into a larger tapestry of civil rights for women and African-Americans.\u003c/p>\n\u003cp>“That all of us are created equal is the star that guides us still, just as it guided our forebears through Seneca Falls and Selma and Stonewall,” Obama told a cheering crowd on the National Mall in January 2013.\u003c/p>\n\u003cp>Designation of the Stonewall monument comes just days before the first anniversary of the 2015 Supreme Court ruling that legalized same-sex marriage in all 50 states. It also follows less than two weeks after 49 patrons at a gay bar in Orlando, Fla., were killed in a mass shooting.\u003c/p>\n\u003cp>Creation of the national monument, which also includes Christopher Park and the surrounding area, required some complex land swaps. It had the backing of state and local officials in New York.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Stonewall is finally taking its rightful place in American history,” said Rep. Jerrold Nadler, D-N.Y., who helped lead the effort. “We are faced with painful reminders daily of how much further we must go to achieve true equality and tolerance for the LGBT community, but honoring and preserving the stories of all of the diverse participants in Stonewall in our National Park System is a clear symbol of how far we have come.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Obama+Names+LGBT+Landmark+As+National+Monument&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>President Obama is designating a new national monument around the Stonewall Inn, the birthplace of the modern gay rights movement.\u003c/p>\n\u003cp>The Stonewall National Monument in New York City will be the first addition to the National Park System specifically highlighting the history of the LGBT community.\u003c/p>\n\u003cp>The monument covers nearly 8 acres in New York’s Greenwich Village including a landmark gay bar, the Stonewall Inn. In June of 1969, patrons at the bar fought back against police persecution — an event that’s widely seen as a watershed in the campaign for LGBT rights.\u003c/p>\n\u003cp>“Raids like these were nothing new, but this time the patrons had had enough,” Obama said in a White House video announcing the new monument. “So they stood up and spoke out. The riots became protests. The protests became a movement. The movement ultimately became an integral part of America.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ywtvJyXDWkk'\n title='//www.youtube.com/embed/ywtvJyXDWkk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Obama had previously highlighted the significance of Stonewall in his second inaugural address, weaving the battle for gay rights into a larger tapestry of civil rights for women and African-Americans.\u003c/p>\n\u003cp>“That all of us are created equal is the star that guides us still, just as it guided our forebears through Seneca Falls and Selma and Stonewall,” Obama told a cheering crowd on the National Mall in January 2013.\u003c/p>\n\u003cp>Designation of the Stonewall monument comes just days before the first anniversary of the 2015 Supreme Court ruling that legalized same-sex marriage in all 50 states. It also follows less than two weeks after 49 patrons at a gay bar in Orlando, Fla., were killed in a mass shooting.\u003c/p>\n\u003cp>Creation of the national monument, which also includes Christopher Park and the surrounding area, required some complex land swaps. It had the backing of state and local officials in New York.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Stonewall is finally taking its rightful place in American history,” said Rep. Jerrold Nadler, D-N.Y., who helped lead the effort. “We are faced with painful reminders daily of how much further we must go to achieve true equality and tolerance for the LGBT community, but honoring and preserving the stories of all of the diverse participants in Stonewall in our National Park System is a clear symbol of how far we have come.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Obama+Names+LGBT+Landmark+As+National+Monument&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>One of the early leaders of bluegrass music, Ralph Stanley, has died at age 89. His death was announced by his grandson \u003ca href=\"http://www.nathanstanleyentertainment.com/\" target=\"_blank\" rel=\"noopener\">Nathan Stanley\u003c/a>; Stanley’s publicist said in a statement that the cause was complications from skin cancer.\u003c/p>\n\u003cp>Ralph and his older brother Carter started out in the late 1940s as a duo. After Carter died in 1966, Ralph continued with his band the Clinch Mountain Boys and built a fan base fiercely devoted to his straightforward banjo and archaic-type singing known as the “high lonesome” mountain sound.\u003c/p>\n\u003ch3>High Lonesome\u003c/h3>\n\u003cp>Stanley’s sound came in part from the fact that he often sang in a minor key, while his band played in a happy-sounding major key.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WrnYWc4ZmG0\u003c/p>\n\u003cp>John Wright, who wrote a book on Stanley called \u003cem>Traveling the High Way Home\u003c/em>, says that tension between minor and major, plus what he called Stanley’s unearthly smokey vocal tone, “gives this old-time mysterious flavor to the singing. The voice sounds like it’s coming out of the past, like a ghost or something like that.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Stanley himself told WHYY’s \u003cem>Fresh Air\u003c/em> in 2002 that he was aware his voice was special, “a gift I think that God’s given me, and he means me to use that.”\u003c/p>\n\u003ch3>Virginia Roots\u003c/h3>\n\u003cp>Stanley recalled growing up poor on a farm in southwest Virginia, using a stick as a make-believe banjo.\u003c/p>\n\u003cp>He and his brother Carter started playing professionally on local radio in Bristol, Va., in 1946, calling their show \u003cem>Farm and Fun Time\u003c/em>. Trying to compete against more mainstream country music and rock-and-roll, they moved toward a smoother duet style.\u003c/p>\n\u003cp>After Carter’s death, Ralph moved back to the traditional sound. He also drew on his childhood experiences in the Baptist Church and started presenting a capella solo and quartet religious songs on the bluegrass stage, something that wasn’t common before.\u003c/p>\n\u003ch3>O, Brother\u003c/h3>\n\u003cp>Ralph Stanley entered the Bluegrass Hall of Fame in 1992, but his unearthly tenor catapulted him to much wider fame when, in 2000 at age 73, he was asked to sing the song “O, Death” for the movie \u003cem>O Brother, Where Art Thou\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ca7JCI5Jjhk\u003c/p>\n\u003cp>He told Fresh Air he was surprised by the reaction, but also gratified with the letters from people who said “that sound caused them to change their life, and I … believe that gift was given to me for that purpose.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9nn4Kbarc8w\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bluegrass+Pioneer+Ralph+Stanley+Dies+At+89&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Stanley himself told WHYY’s \u003cem>Fresh Air\u003c/em> in 2002 that he was aware his voice was special, “a gift I think that God’s given me, and he means me to use that.”\u003c/p>\n\u003ch3>Virginia Roots\u003c/h3>\n\u003cp>Stanley recalled growing up poor on a farm in southwest Virginia, using a stick as a make-believe banjo.\u003c/p>\n\u003cp>He and his brother Carter started playing professionally on local radio in Bristol, Va., in 1946, calling their show \u003cem>Farm and Fun Time\u003c/em>. Trying to compete against more mainstream country music and rock-and-roll, they moved toward a smoother duet style.\u003c/p>\n\u003cp>After Carter’s death, Ralph moved back to the traditional sound. He also drew on his childhood experiences in the Baptist Church and started presenting a capella solo and quartet religious songs on the bluegrass stage, something that wasn’t common before.\u003c/p>\n\u003ch3>O, Brother\u003c/h3>\n\u003cp>Ralph Stanley entered the Bluegrass Hall of Fame in 1992, but his unearthly tenor catapulted him to much wider fame when, in 2000 at age 73, he was asked to sing the song “O, Death” for the movie \u003cem>O Brother, Where Art Thou\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ca7JCI5Jjhk'\n title='//www.youtube.com/embed/ca7JCI5Jjhk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He told Fresh Air he was surprised by the reaction, but also gratified with the letters from people who said “that sound caused them to change their life, and I … believe that gift was given to me for that purpose.” \u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9nn4Kbarc8w'\n title='//www.youtube.com/embed/9nn4Kbarc8w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bluegrass+Pioneer+Ralph+Stanley+Dies+At+89&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Parliament-Funkadelic's Bernie Worrell, 'Wizard Of Woo,' Dies at 72",
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"content": "\u003cp>Keyboardist and composer Bernie Worrell, who helped shape the sound of the band Parliament-Funkadelic and influenced countless artists across a wide range of genres, died Friday at 72.\u003c/p>\n\u003cp>Worrell announced earlier this year that he had been diagnosed with late-stage lung cancer.\u003c/p>\n\u003cp>His musical life began early — according to his official biography, he started studying piano at age 3, wrote his first concerto at age 8 and performed with the National Symphony Orchestra in Washington, D.C., at 10.\u003c/p>\n\u003cp>The classically trained keyboardist (he studied at Juilliard and the New England Conservatory of Music) made his name — and an indelible mark on music — in the world of P-Funk.\u003c/p>\n\u003cp>Worrell, aka “The Wizard of Woo,” was an early member of Parliament-Funkadelic, George Clinton’s sprawling, theatrical and wildly influential funk collective.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UkLYlrE2lPs\u003c/p>\n\u003cp>The \u003ca href=\"https://rockhall.com/inductees/parliament-funkadelic/bio/#sthash.Ep6WPSI0.dpuf\" target=\"_blank\" rel=\"noopener\">Rock and Roll Hall of Fame\u003c/a> notes that Parliament and Funkadelic “prefigured everything from rap and hip-hop to techno and alternative,” with latter-day disciples including Prince and the Red Hot Chili Peppers. Worrell was one of the key collaborators shaping the sounds of the collective.\u003c/p>\n\u003cp>He was particularly famous for his innovative embrace of the sounds of synthesizers.\u003c/p>\n\u003cp>In the 1980s, Worrell helped reshape the sound of the Talking Heads and became a regular member of their expanded lineup.\u003c/p>\n\u003cp>Even if you don’t know Worrell, you’ve probably heard his work. As a studio musician he contributed to scores of albums, and P-Funk songs are \u003ca href=\"http://hiphopdx.com/news/id.18253/title.george-clinton-explains-saving-hip-hop-artists-on-samples-recalls-early-days-of-dr-dre-afrika-bambaataa-eminem\" target=\"_blank\" rel=\"noopener\">frequently sampled\u003c/a> on hip-hop tracks.\u003c/p>\n\u003cp>In 1991, when his second solo album came out, Worrell spoke to reporter Andy Lyman for \u003cem>Morning Edition. \u003c/em>Worrell said his mastery of musical fundamentals was central to his genre-mashing work.\u003c/p>\n\u003cp>“The art of creating is not just pushing a button,” he said. “We’re going to lose\u003cbr>the art of creating — composing — because they won’t even know how to make a chord. The chords are already just on a button. What is the root? What’s the third? What’s the fifth of the chord?\u003c/p>\n\u003cp>“I feel that a lot of artists and parents who are interested in music should get music back into the mainstream in school systems,” he said. “That’s being lost also.”\u003c/p>\n\u003cp>You can hear that whole piece, which also explores the social awareness of Parliament/Funkadelic as well as Worrell’s lasting influence on the Talking Heads, here:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/482486305/482504633\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>In January, Worrell announced that he had been diagnosed with late-stage lung cancer. An \u003ca href=\"https://www.youcaring.com/bernie-worell-501298\" target=\"_blank\" rel=\"noopener\">online fundraiser\u003c/a> and \u003ca href=\"http://www.rollingstone.com/music/news/inside-bernie-worrells-all-star-nyc-benefit-20160325\" target=\"_blank\" rel=\"noopener\">star-studded benefit concert\u003c/a> helped cover his medical expenses — and gave many in the music community a chance to honor his life while he was still there to hear it.\u003c/p>\n\u003cp>George Clinton and Bootsy Collins of P-Funk, David Byrne and Jerry Harrison of the Talking Heads, Fred Schneider of the B-52s, Buckethead, Living Colour and Questlove, among others, performed at the “All The WOO In The World” benefit concert in April. And Worrell played too, of course.\u003c/p>\n\u003cp>The crowd shouted “We love you, Bernie!” as he struggled for words, holding a proclamation from the mayor of Newark, N.J., in his honor. “I don’t know what to –” \u003ca href=\"https://www.youtube.com/watch?v=WmTg3qlODPk\" target=\"_blank\" rel=\"noopener\">Worrell said\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Thank you,” he finally said. “I love you, too.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bernie+Worrell%2C+%27Wizard+Of+Woo%2C%27+Dies+At+72&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/UkLYlrE2lPs'\n title='//www.youtube.com/embed/UkLYlrE2lPs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The \u003ca href=\"https://rockhall.com/inductees/parliament-funkadelic/bio/#sthash.Ep6WPSI0.dpuf\" target=\"_blank\" rel=\"noopener\">Rock and Roll Hall of Fame\u003c/a> notes that Parliament and Funkadelic “prefigured everything from rap and hip-hop to techno and alternative,” with latter-day disciples including Prince and the Red Hot Chili Peppers. Worrell was one of the key collaborators shaping the sounds of the collective.\u003c/p>\n\u003cp>He was particularly famous for his innovative embrace of the sounds of synthesizers.\u003c/p>\n\u003cp>In the 1980s, Worrell helped reshape the sound of the Talking Heads and became a regular member of their expanded lineup.\u003c/p>\n\u003cp>Even if you don’t know Worrell, you’ve probably heard his work. As a studio musician he contributed to scores of albums, and P-Funk songs are \u003ca href=\"http://hiphopdx.com/news/id.18253/title.george-clinton-explains-saving-hip-hop-artists-on-samples-recalls-early-days-of-dr-dre-afrika-bambaataa-eminem\" target=\"_blank\" rel=\"noopener\">frequently sampled\u003c/a> on hip-hop tracks.\u003c/p>\n\u003cp>In 1991, when his second solo album came out, Worrell spoke to reporter Andy Lyman for \u003cem>Morning Edition. \u003c/em>Worrell said his mastery of musical fundamentals was central to his genre-mashing work.\u003c/p>\n\u003cp>“The art of creating is not just pushing a button,” he said. “We’re going to lose\u003cbr>the art of creating — composing — because they won’t even know how to make a chord. The chords are already just on a button. What is the root? What’s the third? What’s the fifth of the chord?\u003c/p>\n\u003cp>“I feel that a lot of artists and parents who are interested in music should get music back into the mainstream in school systems,” he said. “That’s being lost also.”\u003c/p>\n\u003cp>You can hear that whole piece, which also explores the social awareness of Parliament/Funkadelic as well as Worrell’s lasting influence on the Talking Heads, here:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/482486305/482504633\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>In January, Worrell announced that he had been diagnosed with late-stage lung cancer. An \u003ca href=\"https://www.youcaring.com/bernie-worell-501298\" target=\"_blank\" rel=\"noopener\">online fundraiser\u003c/a> and \u003ca href=\"http://www.rollingstone.com/music/news/inside-bernie-worrells-all-star-nyc-benefit-20160325\" target=\"_blank\" rel=\"noopener\">star-studded benefit concert\u003c/a> helped cover his medical expenses — and gave many in the music community a chance to honor his life while he was still there to hear it.\u003c/p>\n\u003cp>George Clinton and Bootsy Collins of P-Funk, David Byrne and Jerry Harrison of the Talking Heads, Fred Schneider of the B-52s, Buckethead, Living Colour and Questlove, among others, performed at the “All The WOO In The World” benefit concert in April. And Worrell played too, of course.\u003c/p>\n\u003cp>The crowd shouted “We love you, Bernie!” as he struggled for words, holding a proclamation from the mayor of Newark, N.J., in his honor. “I don’t know what to –” \u003ca href=\"https://www.youtube.com/watch?v=WmTg3qlODPk\" target=\"_blank\" rel=\"noopener\">Worrell said\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Thank you,” he finally said. “I love you, too.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bernie+Worrell%2C+%27Wizard+Of+Woo%2C%27+Dies+At+72&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>‘Backstage Heroes’ is a series spotlighting the many movers and shakers working behind the arts scenes to make magic happen in the Bay Area. Guiding us is Hiya Swanhuyser, a veteran fan and all-around culture vulture who for nearly a decade helmed calendar duties for the \u003c/em>SF Weekly\u003cem> — where her \u003ca href=\"http://www.sfweekly.com/sanfrancisco/ArticleArchives?author=2126606\" target=\"_blank\" rel=\"noopener\">‘Music Heroes’ \u003c/a>series inspired this broader look at the arts — giving her rare personal insight into those toiling in the wings, but rarely in the spotlight.\u003c/em>\u003c/p>\n\u003cp>Plenty has been written about the significance of gay bar space in the wake of the unthinkable attack on Pulse Orlando Night Club and Ultra Lounge, and I hope to see a lot more. \u003ca href=\"https://www.facebook.com/monique.jenkinson.7/posts/10154980334879179?pnref=story\" target=\"_blank\" rel=\"noopener\">This Facebook post\u003c/a> from San Francisco drag legend Monique Jenkinson, aka \u003ca href=\"http://www.fauxnique.net/\">Fauxnique,\u003c/a> is a start: “Feeling particular love for friends & family who have lived lives, made art, danced our asses off, talked over the music on the dance floor, watched shows, cried, eaten birthday cake & made everyone feel welcome to come together in difference in GAY BARS.”\u003c/p>\n\u003cp>As I tried to process the facts last week, I wondered about the unsung characters who were at work while it happened. What about the feet on the ground, the employees at Pulse, like those at every other cavernous, anarchic gay club? A \u003ca href=\"http://www.cbsnews.com/news/war-veteran-imran-yousef-saves-dozens-during-orlando-nightclub-shooting-omar-mateen/\" target=\"_blank\" rel=\"noopener\">recent article surfaced\u003c/a>: Imran Yousuf, a Pulse bouncer, saved 60 or 70 lives that night.\u003c/p>\n\u003cp>I decided to talk to Eric Mueller, a local gay bar employee. A former college football player, he moved across the country to join USF’s MFA in writing program in 2014, when he “won the apartment lottery,” and moved into a place at 18th and Castro streets. A week and a half later, he saw a sign in a window, and was quickly hired by a pair of large, popular gay bars to do barback and security work. To my mind, \u003cspan class=\"im\">although these places are located in San Francisco’s iconic, center-of-the-gay-universe district, in many ways, they could be, and are, everywhere. Suffice it to say they’re big, industrial-grade dancehalls, the kind you find all over the world.\u003c/span>\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>Although he’s a writer by calling, Mueller’s six-foot-tall, offensive-lineman physique gives him solid qualifications for intense bar duty; the Allegheny Gators’ loss of a strongman was 18th Street hitting the bouncer jackpot. Tall, broad, blond, and muscular he may be, but Mueller is surprisingly soft-spoken and waits a full, unhurried beat after questions; it’s unnerving at first, but I soon realize the calm pace of conversation springs from the unusual care he takes with language and ideas. He also worked at the University of San Francisco’s Gleeson library.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-11714290 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Eric-Mueller-and-Ian-e1466812869971-462x600.jpg\" width=\"462\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Eric-Mueller-and-Ian-e1466812869971-462x600.jpg 462w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Eric-Mueller-and-Ian-e1466812869971-400x520.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Eric-Mueller-and-Ian-e1466812869971-768x998.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Eric-Mueller-and-Ian-e1466812869971-908x1180.jpg 908w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Eric-Mueller-and-Ian-e1466812869971-1180x1534.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Eric-Mueller-and-Ian-e1466812869971-960x1248.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Eric-Mueller-and-Ian-e1466812869971.jpg 1490w\" sizes=\"(max-width: 462px) 100vw, 462px\">\u003c/p>\n\u003cp>Mueller actually no longer works at bars — he’d like to find work at a bookstore — and his last shift was a recent Saturday night. But for the past two years, he’s been one of the people who cleaned up messes, stopped fights, enforced 86s, got yelled at by drunks on the sidewalk, and kept your glassware sanitized.\u003c/p>\n\u003cp>If Yousuf was paid anything close to what Mueller was, the money’s as heartbreaking as the work is hard — and dangerous even on a good night.\u003c/p>\n\u003cp>Following Mueller’s byzantine description of his salary rituals, for example: “If you work the door, you make $16 an hour, and the tipout you get is $5 per bartender, and then a payout from the owner, so weeknights that tipout would be $25, because there were usually three bartenders, and the millionaire in charge thought ten was good,” I calculate his net hourly rate to be between $21 and $32.\u003cbr>\nWe talk about community, about whether huge party-bars like those in the Castro can really provide a sense of home. Although I should know better, I question whether they can; maybe I just don’t like the constant deafening music, sticky surfaces, and aim-head-for-floor drinking style that define big gay bars.\u003c/p>\n\u003cp>Mueller surprises me: His bars have regulars, he says, people who live nearby and come through nearly every day, knowing their friends will be there. The places he worked for have had well-known problems with racial profiling — asking for multiple forms of ID from black patrons, that kind of thing — but he notes that “the regulars at at happy hour are people of color, surprisingly.”\u003c/p>\n\u003cp>“For a few months they were having Latin night on Wednesdays, which I thought was awesome,” Mueller adds. He’s tougher than I am; I tear up when he says the name of the same event that had been in progress during the attack in Orlando. \u003cem>What went through your head when you heard about it?\u003c/em> I ask. Mueller waits that beat before answering, but not to think about what he’s going to say. When he responds, he speaks quickly.\u003c/p>\n\u003cp>“My first thought was, how did the person get in with a gun like that? When you work the door, I was taught you check the IDs first and then check bags if they have them. You’re supposed to make sure that outside food or beverages don’t come in. Safety hazards like knives or stuff,” he says, emphasizing, maybe marveling at, the contrast between those items and the ones the shooter carried into Pulse. “And then I learned that he was sort of involved in the security of the club, which made me think, you know, it could have happened anywhere.”\u003c/p>\n\u003cp>Homophobia was a regular part of his job, along with those unexpected moments of community, and he tells a story that’s apparently extremely common, one that could have been taken out of \u003ca href=\"http://www.newnownext.com/straight-man-arrested-at-gay-friendly-bar-in-brooklyn-after-threatening-to-come-back-orlando-style/06/2016/\" target=\"_blank\" rel=\"noopener\">yesterday’s headlines\u003c/a>. When Mueller told a straight man he couldn’t cut to the front of a long line on the Sunday of Pride weekend, just because he’d “brought a lot of business,” the man instantly became verbally abusive, “dropping f-bombs.” A police officer happened to be nearby, and the man was arrested.\u003c/p>\n\u003cp>Another, very different, but according to Mueller extremely plaguing day-to-day problem is the dehumanizing treatment bar workers receive at the hands of a group that would never suspect itself: bachelorette parties. “When a bachelorette party comes in, everyone working inside just looks at each other, and gets mentally prepared.” Prepared for trash to be thrown everywhere, prepared for entitlement to be turned up to 11. Pretty princesses’ “little crowns, and penis-shaped things, because that’s what consumerized bachelorette parties all have,” it seems, are often left behind in a wave of what Mueller thinks of as “indirect homophobia.” Guess who has to clean it up.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“There are thousands of establishments that are quote-unquote straight bars. Straight people can be straight almost anywhere they want,” Mueller observes. What’s his advice for the gaggles of girls, for the homophobia-enraged toxic masculines, for the non-bar-going public? “Remember why gay bars exist, and remember who they exist for,” he says simply. In return, that door guy, barback, floater, bouncer, or busboy will mop the floor, stop the fights, pick up the trash — and, hopefully, never have to save your life.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>‘Backstage Heroes’ is a series spotlighting the many movers and shakers working behind the arts scenes to make magic happen in the Bay Area. Guiding us is Hiya Swanhuyser, a veteran fan and all-around culture vulture who for nearly a decade helmed calendar duties for the \u003c/em>SF Weekly\u003cem> — where her \u003ca href=\"http://www.sfweekly.com/sanfrancisco/ArticleArchives?author=2126606\" target=\"_blank\" rel=\"noopener\">‘Music Heroes’ \u003c/a>series inspired this broader look at the arts — giving her rare personal insight into those toiling in the wings, but rarely in the spotlight.\u003c/em>\u003c/p>\n\u003cp>Plenty has been written about the significance of gay bar space in the wake of the unthinkable attack on Pulse Orlando Night Club and Ultra Lounge, and I hope to see a lot more. \u003ca href=\"https://www.facebook.com/monique.jenkinson.7/posts/10154980334879179?pnref=story\" target=\"_blank\" rel=\"noopener\">This Facebook post\u003c/a> from San Francisco drag legend Monique Jenkinson, aka \u003ca href=\"http://www.fauxnique.net/\">Fauxnique,\u003c/a> is a start: “Feeling particular love for friends & family who have lived lives, made art, danced our asses off, talked over the music on the dance floor, watched shows, cried, eaten birthday cake & made everyone feel welcome to come together in difference in GAY BARS.”\u003c/p>\n\u003cp>As I tried to process the facts last week, I wondered about the unsung characters who were at work while it happened. What about the feet on the ground, the employees at Pulse, like those at every other cavernous, anarchic gay club? A \u003ca href=\"http://www.cbsnews.com/news/war-veteran-imran-yousef-saves-dozens-during-orlando-nightclub-shooting-omar-mateen/\" target=\"_blank\" rel=\"noopener\">recent article surfaced\u003c/a>: Imran Yousuf, a Pulse bouncer, saved 60 or 70 lives that night.\u003c/p>\n\u003cp>I decided to talk to Eric Mueller, a local gay bar employee. A former college football player, he moved across the country to join USF’s MFA in writing program in 2014, when he “won the apartment lottery,” and moved into a place at 18th and Castro streets. A week and a half later, he saw a sign in a window, and was quickly hired by a pair of large, popular gay bars to do barback and security work. To my mind, \u003cspan class=\"im\">although these places are located in San Francisco’s iconic, center-of-the-gay-universe district, in many ways, they could be, and are, everywhere. Suffice it to say they’re big, industrial-grade dancehalls, the kind you find all over the world.\u003c/span>\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>Although he’s a writer by calling, Mueller’s six-foot-tall, offensive-lineman physique gives him solid qualifications for intense bar duty; the Allegheny Gators’ loss of a strongman was 18th Street hitting the bouncer jackpot. Tall, broad, blond, and muscular he may be, but Mueller is surprisingly soft-spoken and waits a full, unhurried beat after questions; it’s unnerving at first, but I soon realize the calm pace of conversation springs from the unusual care he takes with language and ideas. He also worked at the University of San Francisco’s Gleeson library.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-11714290 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Eric-Mueller-and-Ian-e1466812869971-462x600.jpg\" width=\"462\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Eric-Mueller-and-Ian-e1466812869971-462x600.jpg 462w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Eric-Mueller-and-Ian-e1466812869971-400x520.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Eric-Mueller-and-Ian-e1466812869971-768x998.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Eric-Mueller-and-Ian-e1466812869971-908x1180.jpg 908w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Eric-Mueller-and-Ian-e1466812869971-1180x1534.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Eric-Mueller-and-Ian-e1466812869971-960x1248.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Eric-Mueller-and-Ian-e1466812869971.jpg 1490w\" sizes=\"(max-width: 462px) 100vw, 462px\">\u003c/p>\n\u003cp>Mueller actually no longer works at bars — he’d like to find work at a bookstore — and his last shift was a recent Saturday night. But for the past two years, he’s been one of the people who cleaned up messes, stopped fights, enforced 86s, got yelled at by drunks on the sidewalk, and kept your glassware sanitized.\u003c/p>\n\u003cp>If Yousuf was paid anything close to what Mueller was, the money’s as heartbreaking as the work is hard — and dangerous even on a good night.\u003c/p>\n\u003cp>Following Mueller’s byzantine description of his salary rituals, for example: “If you work the door, you make $16 an hour, and the tipout you get is $5 per bartender, and then a payout from the owner, so weeknights that tipout would be $25, because there were usually three bartenders, and the millionaire in charge thought ten was good,” I calculate his net hourly rate to be between $21 and $32.\u003cbr>\nWe talk about community, about whether huge party-bars like those in the Castro can really provide a sense of home. Although I should know better, I question whether they can; maybe I just don’t like the constant deafening music, sticky surfaces, and aim-head-for-floor drinking style that define big gay bars.\u003c/p>\n\u003cp>Mueller surprises me: His bars have regulars, he says, people who live nearby and come through nearly every day, knowing their friends will be there. The places he worked for have had well-known problems with racial profiling — asking for multiple forms of ID from black patrons, that kind of thing — but he notes that “the regulars at at happy hour are people of color, surprisingly.”\u003c/p>\n\u003cp>“For a few months they were having Latin night on Wednesdays, which I thought was awesome,” Mueller adds. He’s tougher than I am; I tear up when he says the name of the same event that had been in progress during the attack in Orlando. \u003cem>What went through your head when you heard about it?\u003c/em> I ask. Mueller waits that beat before answering, but not to think about what he’s going to say. When he responds, he speaks quickly.\u003c/p>\n\u003cp>“My first thought was, how did the person get in with a gun like that? When you work the door, I was taught you check the IDs first and then check bags if they have them. You’re supposed to make sure that outside food or beverages don’t come in. Safety hazards like knives or stuff,” he says, emphasizing, maybe marveling at, the contrast between those items and the ones the shooter carried into Pulse. “And then I learned that he was sort of involved in the security of the club, which made me think, you know, it could have happened anywhere.”\u003c/p>\n\u003cp>Homophobia was a regular part of his job, along with those unexpected moments of community, and he tells a story that’s apparently extremely common, one that could have been taken out of \u003ca href=\"http://www.newnownext.com/straight-man-arrested-at-gay-friendly-bar-in-brooklyn-after-threatening-to-come-back-orlando-style/06/2016/\" target=\"_blank\" rel=\"noopener\">yesterday’s headlines\u003c/a>. When Mueller told a straight man he couldn’t cut to the front of a long line on the Sunday of Pride weekend, just because he’d “brought a lot of business,” the man instantly became verbally abusive, “dropping f-bombs.” A police officer happened to be nearby, and the man was arrested.\u003c/p>\n\u003cp>Another, very different, but according to Mueller extremely plaguing day-to-day problem is the dehumanizing treatment bar workers receive at the hands of a group that would never suspect itself: bachelorette parties. “When a bachelorette party comes in, everyone working inside just looks at each other, and gets mentally prepared.” Prepared for trash to be thrown everywhere, prepared for entitlement to be turned up to 11. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There are thousands of establishments that are quote-unquote straight bars. Straight people can be straight almost anywhere they want,” Mueller observes. What’s his advice for the gaggles of girls, for the homophobia-enraged toxic masculines, for the non-bar-going public? “Remember why gay bars exist, and remember who they exist for,” he says simply. In return, that door guy, barback, floater, bouncer, or busboy will mop the floor, stop the fights, pick up the trash — and, hopefully, never have to save your life.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "adios-greg-ashley-a-look-back-at-the-psychedelic-savants-oakland-years",
"title": "Adios, Greg Ashley: A Look Back at the Psychedelic Savant's Oakland Years",
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"headTitle": "Adios, Greg Ashley: A Look Back at the Psychedelic Savant’s Oakland Years | KQED",
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"content": "\u003cp>Greg Ashley had a round trip ticket to France paid for and weeks of shows booked all across the country with his friends, the Inaniel Swims. He arrived at SFO with everything he needed for the trip, ready to do what he’s done since high school: play music for people. But he didn’t catch his flight.\u003c/p>\n\u003cp>“I got to the terminal and pretty much had a nervous breakdown,” said Ashley.\u003c/p>\n\u003cp>The day before, May 26, Ashley and his 12 roommates at the Ghost Town Gallery in Oakland had an eviction notice posted on their door telling them they had five days to move out. This sent Ashley scrambling to find somewhere to store all the equipment from Creamery Analog, the recording studio he ran for nine years inside the gallery.\u003c/p>\n\u003cfigure id=\"attachment_11727401\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11727401\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/DOLM-1400x1400-new-600x600.jpg\" alt=\"Ashley's version of the Leonard Cohen album, 'Death of Ladies Man'\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DOLM-1400x1400-new-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DOLM-1400x1400-new-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DOLM-1400x1400-new-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DOLM-1400x1400-new-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DOLM-1400x1400-new-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DOLM-1400x1400-new-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DOLM-1400x1400-new-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DOLM-1400x1400-new-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DOLM-1400x1400-new-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DOLM-1400x1400-new-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DOLM-1400x1400-new.jpg 1000w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Ashley’s version of the Leonard Cohen album, ‘Death of Ladies Man’ \u003ccite>(Photo: Courtesy of Guitars and Bongos Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ashley, who was once called “\u003ca href=\"http://www.sfweekly.com/sanfrancisco/slip-inside-this-house/Content?oid=2162208\" target=\"_blank\" rel=\"noopener\">a true psychedelic visionary, maybe the greatest of his generation,\u003c/a>” recorded hundreds of projects at his studio, some groups coming as far away as France and Japan to work with him. But despite always paying his rent and even covering those who were short, he had to leave — an Alameda County judge ordered him and his roommates to do so two weeks before.\u003c/p>\n\u003cp>A bunch of Ashley’s friends came to his aid and helped him move out of the warehouse, allowing him to tour France, but he was still losing both his home and business. So, while sitting at the airport, unable to calm down, Ashley called his girlfriend. Hearing the panic in his voice, she bought him a plane ticket to Austin, Texas. That’s where he was calling from when he told me he wasn’t coming back to Oakland. He’s moving his studio to the Lone Star state.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I don’t think I can afford anything in California,” he said. “If I win the lottery, I’ll be back.”\u003c/p>\n\u003cp>\u003cb>A Green Dream\u003c/b>\u003c/p>\n\u003cp>Ashley moved to Oakland from Houston back in 2002. He had wanted to move to the Bay Area since his band the Mirrors played Cloyne Court in Berkeley the year before. The band was better received then they ever were in Texas, and the weather that night in the East Bay was heavenly compared to Houston’s harsh summer heat.\u003c/p>\n\u003cp>“Nobody gave a sh*t about my garage band in Houston,” Ashley said. “People liked my music out here. I got to meet one of heroes, Russell Quan of the Mummies, and he was a fan of my band.”\u003c/p>\n\u003cp>“And these kids had a keg outside that wasn’t even iced down because you don’t really need to — the weather’s perfect.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sumUx6RY3Jw\u003c/p>\n\u003cp>One of the people he met at the Cloyne show was Oscar Michel, who became a good friend almost instantly. A bassist, Michel began playing music with Ashley soon after he arrived in Oakland.\u003c/p>\n\u003cp>“He was just a sweet, genuine kid who just wanted to create and make music. He was obsessed with Leonard Cohen,” Michel said. “I feel like all those kids from Texas were way more musically mature than we were out here.”\u003c/p>\n\u003cp>The duo went by Medicine F*ck Dream — the name of Ashley’s first solo album — and only played a few shows before setting up a national tour that would end in New York.\u003c/p>\n\u003cp>“He had a bunch of material so we decided to book a tour. We just f*ckin’ went for it,” Michel said.\u003c/p>\n\u003cp>They didn’t complete the tour, calling it quits in Texas and heading their separate ways.\u003c/p>\n\u003cp>“I remember eating Wonder Bread with Sriracha on it — that was breakfast, lunch and dinner — sitting in a parking lot in New Mexico, wondering if we had enough gas to make it to the next show,” Michel said.\u003c/p>\n\u003cp>When Ashley and Michel made it back to Oakland a while later, they tried being in a band again. This time they’d call themselves the Gris Gris, after the Dr. John album. They became a trio after Michel’s drummer friend Joe Haener joined and soon they were a local favorite, winning over crowds at dives like the Stork Club with their reverb-soaked folk-garage. (Later they were termed “neo-psych.”)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2QKPzE_8AF4\u003c/p>\n\u003cp>David Katznelson, owner of Birdman Records and a former head of A&R for Warner Bros, was in one of those crowds. He signed them to his label in 2003, a year after the band began.\u003c/p>\n\u003cp>“I was instantly captivated by the band and loved the show. The songs, Greg’s voice, the whole vibe was amazing,” Katzenlson, who signed the Flaming Lips, among others, to Warner Bros. “I fell in love with the musical world of Greg Ashley on the spot.”\u003c/p>\n\u003cp>The first Gris Gris album \u003ca href=\"http://pitchfork.com/reviews/albums/3658-the-gris-gris/\" target=\"_blank\" rel=\"noopener\">received a 7.0 on \u003cem>Pitchfork\u003c/em>\u003c/a>\u003cem> —\u003c/em> and this time, when the band toured, they came back with money in their pockets.\u003c/p>\n\u003cp>Keyboardist Lars Kullberg later joined, and the band would go on to record two more albums before breaking up in 2005. By then, the Gris Gris had toured all over the U.S. and the U.K., and had fans like Karen O from the Yeah Yeah Yeahs and the Flaming Lips’ Wayne Coyne.\u003c/p>\n\u003cp>Ashley kept making music, playing with Sir Lord Von Raven and working on his own material, releasing a few solo records along the way. Two years later, he’d turn his home and his mastery of reverb into a business. \u003c/p>\n\u003cp>\u003cb>The Nonstop Tape\u003c/b>\u003c/p>\n\u003cp>Since he first bought an Tascam 8-track reel-to-reel back when he was in Texas, Ashley has been recording music non-stop. Which is part of the reason he could never find a permanent place to live in Oakland; the few times he did have a steady place, like the storefront on Broadway or the apartment on Grand Avenue, he says he got kicked out because he made music there.\u003c/p>\n\u003cp>In the meantime, Ashley managed to make remarkably good lo-fi home recordings wherever he could and with whatever equipment he had available.\u003c/p>\n\u003cp>“He had an apartment off of Grand Avenue, near the lake (Lake Merritt). It was a tiny studio apartment and he had his tape machine there. This was before Gris Gris — he was recording a lot of his first solo record,” Michel said. “I wasn’t even a part of it; I was just there, hanging out with him and watching him do his thing. And he told me, ‘Hey, can you hold this button down while I record this solo? It’s broken.'”\u003c/p>\n\u003cp>In a few cases, Ashley used temporary spaces where playing loud music wasn’t a problem. When he recorded the band Battleship, he rented out the Stork Club on a Tuesday afternoon. He recorded the first Gris Gris in the basement of a house the two shared in El Cerrito.\u003c/p>\n\u003cp>“Home of Metallica and Creedence (Clearwater Revival)!” Michel said.\u003c/p>\n\u003cfigure id=\"attachment_11727405\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11727405\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/lqrecording_MCM8894-800x532.jpg\" alt=\"Ashley at work in Creamery Analog\" width=\"800\" height=\"532\">\u003cfigcaption class=\"wp-caption-text\">Ashley at work in Creamery Analog \u003ccite>(Photo: Mark Murrman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ashley had gone to a few shows at the Ghost Town Gallery and even stayed there for a short while when he was down-and-out before he moved in in 2006. He didn’t like the neighborhood that surrounded the old creamery at all — one of the first times he went to a show there, someone smashed one of his car windows. But the young, artistically-minded tenants, most of them musicians themselves, didn’t care that he recorded music all day and the space sounded really good.\u003c/p>\n\u003cp>“I stayed there for a week in 2003,” Ashley said. “I remember going around the building, and that room that I eventually used for a reverb chamber had a trampoline in it and somebody had left some tabla drums. I remember hanging out there with some weirdo hippie chick who was jumping on the trampoline and I was playing those tabla drums, and I thought ‘This is kinda weird, but this room sounds amazing!'”\u003c/p>\n\u003cp>Ashley turned his bedroom into a control room and pieced together whatever equipment he could to start the studio. His mixer, probably the second most important part of his studio after his Tascam 16-track, was found abandoned in another room of Ghost Town. So, he charged $15 an hour for his studio and services, which allowed for friends and up-and-coming artists to afford to record there. Over time, he learned how to make it all sound good.\u003c/p>\n\u003cp>“If you listen to the Sir Lord Von Raven record, since it took us seven years to record, you’ll hear the fidelity get better throughout it,” Ashley said. “You’ll be able figure out which era of my studio was what because it goes from ‘I don’t know what the f*ck I’m doing’ to ‘I know exactly what I’m doing.'”\u003c/p>\n\u003cp>By 2009, Ashley was recording bands like the Mantles and Dutchess and the Duke, and magazines such as \u003ci>Mojo\u003c/i> would be filled with reviews of releases he recorded, all of them dropping his name.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rUq_UJyPfeY\u003c/p>\n\u003cp>“He was able to not only conjure up the warmest, biggest noises in that room, but also capture them to tape,” Dutchess and Duke’s Kimberly Morrison said. “Recording at the Creamery was remarkable… I felt like Ariel in \u003ci>The Little Mermaid\u003c/i> when she finally gets her voice and she can’t even believe she’s the one making such sounds.”\u003c/p>\n\u003cp>Around that time is when Ashley increased his hourly rate to $30 an hour. He says he had to because the Bay Area was getting more expensive, but it allowed him to quit his part-time job cutting lenses at an optometrist’s office and finally work on music full-time.\u003c/p>\n\u003cp>“For four or five years, it was my only source of income,” Ashley said. “I wouldn’t say I was doing really well, but I wasn’t in debt.”\u003c/p>\n\u003cp>\u003cb>Apple Pie and Genocide\u003c/b>\u003c/p>\n\u003cp>Back in April of this year, the tenants of Ghost Town Gallery \u003ca href=\"http://www.mercurynews.com/crime-courts/ci_29962176/oakland-ghost-town-gallery-becomes-ghost-town?source=infinite-up\" target=\"_blank\" rel=\"noopener\">went to court \u003c/a>to stop their landlord from evicting them. For over a decade the former creamery on San Pablo was a creative epicenter of West Oakland, hosting bands such as Deerhoof, Xiu Xiu and \u003ca href=\"http://www.sfweekly.com/shookdown/2015/08/26/we-followed-thee-oh-sees-to-a-packed-last-minute-show-in-oakland\" target=\"_blank\" rel=\"noopener\">Thee Oh Sees\u003c/a>. According to reports, Ghost Town’s owner Mehrdad Dokhanchy pushed them out because there were too many people living there and modifications the tenants made to the building were endangering its residents.\u003c/p>\n\u003cp>Ashley didn’t get involved. It was bad enough that his recording work had declined over the previous years, forcing him to go back to his part-time job at the optometrist’s office. He just wanted to concentrate on making music.\u003c/p>\n\u003cp>“I just couldn’t deal with it,” Ashley said. “The walls were paper thin and every day I heard people threatening to kill each other in the hallway.”\u003c/p>\n\u003cfigure id=\"attachment_11727409\" class=\"wp-caption alignright\" style=\"max-width: 399px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11727409\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/lqrecording_MCM8943-399x600.jpg\" alt=\"Ashley and Oscar Michel recording at the Creamery\" width=\"399\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lqrecording_MCM8943-399x600.jpg 399w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lqrecording_MCM8943-400x602.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lqrecording_MCM8943.jpg 532w\" sizes=\"(max-width: 399px) 100vw, 399px\">\u003cfigcaption class=\"wp-caption-text\">Ashley and Oscar Michel recording at the Creamery \u003ccite>(Photo: Mark Murrman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The night the eviction notice was posted on the Ghost Town Gallery door might as well have been a wake. He and his friends listened to recordings he made there over the years while they packed everything up. \u003ca href=\"http://chrisstroffolino.blogspot.com/2016/05/oaklands-creamery-studio-latest.html\" target=\"_blank\" rel=\"noopener\">The Creamery memorial was documented\u003c/a> by a frequent collaborator with Ashley, Chris Stroffolino.\u003c/p>\n\u003cp>“I’ve worked at more expensive (and more “state of the art”) studios, and The Creamery was better than all of them,” Stroffolino wrote on his blog. “Greg provided a much-needed service to the community, and was able to eke out a living as a musician/producer in an era where that is becoming increasingly impossible (unless one is willing to relocate to LA or Nashville, and sell one’s soul to the corporate conglomerates).”\u003c/p>\n\u003cp>While sitting in Texas, planning his next move (probably setting up a new studio outside of Austin), Ashley tells me that what bothers him now is how he left some of his friends’ projects in the lurch. A series of recording dates were canceled — some bands had already bought plane tickets to fly to Oakland — and he was in the middle of working on a friend’s solo project that will have to be shelved now. There are other studios in Oakland those bands can use — there’s even one across the street from the Creamery called \u003ca href=\"https://www.facebook.com/santorecordings/\" target=\"_blank\" rel=\"noopener\">Santo Recording\u003c/a> — but they’re nothing like what Ashley had created with the Creamery.\u003c/p>\n\u003cp>“It’s a lot prettier inside Santo,” Ashley said. “But they charge twice as much as I do. And they won’t let you smoke cigarettes, but whatever.”\u003c/p>\n\u003cp>\u003ci>Below is a song Ashley recorded in Texas about leaving Oakland. \u003cb>Warning:\u003c/b> there are some explicit lyrics.\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/267579107″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Greg Ashley had a round trip ticket to France paid for and weeks of shows booked all across the country with his friends, the Inaniel Swims. He arrived at SFO with everything he needed for the trip, ready to do what he’s done since high school: play music for people. But he didn’t catch his flight.\u003c/p>\n\u003cp>“I got to the terminal and pretty much had a nervous breakdown,” said Ashley.\u003c/p>\n\u003cp>The day before, May 26, Ashley and his 12 roommates at the Ghost Town Gallery in Oakland had an eviction notice posted on their door telling them they had five days to move out. This sent Ashley scrambling to find somewhere to store all the equipment from Creamery Analog, the recording studio he ran for nine years inside the gallery.\u003c/p>\n\u003cfigure id=\"attachment_11727401\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11727401\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/DOLM-1400x1400-new-600x600.jpg\" alt=\"Ashley's version of the Leonard Cohen album, 'Death of Ladies Man'\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DOLM-1400x1400-new-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DOLM-1400x1400-new-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DOLM-1400x1400-new-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DOLM-1400x1400-new-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DOLM-1400x1400-new-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DOLM-1400x1400-new-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DOLM-1400x1400-new-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DOLM-1400x1400-new-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DOLM-1400x1400-new-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DOLM-1400x1400-new-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/DOLM-1400x1400-new.jpg 1000w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Ashley’s version of the Leonard Cohen album, ‘Death of Ladies Man’ \u003ccite>(Photo: Courtesy of Guitars and Bongos Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ashley, who was once called “\u003ca href=\"http://www.sfweekly.com/sanfrancisco/slip-inside-this-house/Content?oid=2162208\" target=\"_blank\" rel=\"noopener\">a true psychedelic visionary, maybe the greatest of his generation,\u003c/a>” recorded hundreds of projects at his studio, some groups coming as far away as France and Japan to work with him. But despite always paying his rent and even covering those who were short, he had to leave — an Alameda County judge ordered him and his roommates to do so two weeks before.\u003c/p>\n\u003cp>A bunch of Ashley’s friends came to his aid and helped him move out of the warehouse, allowing him to tour France, but he was still losing both his home and business. So, while sitting at the airport, unable to calm down, Ashley called his girlfriend. Hearing the panic in his voice, she bought him a plane ticket to Austin, Texas. That’s where he was calling from when he told me he wasn’t coming back to Oakland. He’s moving his studio to the Lone Star state.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I don’t think I can afford anything in California,” he said. “If I win the lottery, I’ll be back.”\u003c/p>\n\u003cp>\u003cb>A Green Dream\u003c/b>\u003c/p>\n\u003cp>Ashley moved to Oakland from Houston back in 2002. He had wanted to move to the Bay Area since his band the Mirrors played Cloyne Court in Berkeley the year before. The band was better received then they ever were in Texas, and the weather that night in the East Bay was heavenly compared to Houston’s harsh summer heat.\u003c/p>\n\u003cp>“Nobody gave a sh*t about my garage band in Houston,” Ashley said. “People liked my music out here. I got to meet one of heroes, Russell Quan of the Mummies, and he was a fan of my band.”\u003c/p>\n\u003cp>“And these kids had a keg outside that wasn’t even iced down because you don’t really need to — the weather’s perfect.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/sumUx6RY3Jw'\n title='//www.youtube.com/embed/sumUx6RY3Jw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One of the people he met at the Cloyne show was Oscar Michel, who became a good friend almost instantly. A bassist, Michel began playing music with Ashley soon after he arrived in Oakland.\u003c/p>\n\u003cp>“He was just a sweet, genuine kid who just wanted to create and make music. He was obsessed with Leonard Cohen,” Michel said. “I feel like all those kids from Texas were way more musically mature than we were out here.”\u003c/p>\n\u003cp>The duo went by Medicine F*ck Dream — the name of Ashley’s first solo album — and only played a few shows before setting up a national tour that would end in New York.\u003c/p>\n\u003cp>“He had a bunch of material so we decided to book a tour. We just f*ckin’ went for it,” Michel said.\u003c/p>\n\u003cp>They didn’t complete the tour, calling it quits in Texas and heading their separate ways.\u003c/p>\n\u003cp>“I remember eating Wonder Bread with Sriracha on it — that was breakfast, lunch and dinner — sitting in a parking lot in New Mexico, wondering if we had enough gas to make it to the next show,” Michel said.\u003c/p>\n\u003cp>When Ashley and Michel made it back to Oakland a while later, they tried being in a band again. This time they’d call themselves the Gris Gris, after the Dr. John album. They became a trio after Michel’s drummer friend Joe Haener joined and soon they were a local favorite, winning over crowds at dives like the Stork Club with their reverb-soaked folk-garage. (Later they were termed “neo-psych.”)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/2QKPzE_8AF4'\n title='//www.youtube.com/embed/2QKPzE_8AF4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>David Katznelson, owner of Birdman Records and a former head of A&R for Warner Bros, was in one of those crowds. He signed them to his label in 2003, a year after the band began.\u003c/p>\n\u003cp>“I was instantly captivated by the band and loved the show. The songs, Greg’s voice, the whole vibe was amazing,” Katzenlson, who signed the Flaming Lips, among others, to Warner Bros. “I fell in love with the musical world of Greg Ashley on the spot.”\u003c/p>\n\u003cp>The first Gris Gris album \u003ca href=\"http://pitchfork.com/reviews/albums/3658-the-gris-gris/\" target=\"_blank\" rel=\"noopener\">received a 7.0 on \u003cem>Pitchfork\u003c/em>\u003c/a>\u003cem> —\u003c/em> and this time, when the band toured, they came back with money in their pockets.\u003c/p>\n\u003cp>Keyboardist Lars Kullberg later joined, and the band would go on to record two more albums before breaking up in 2005. By then, the Gris Gris had toured all over the U.S. and the U.K., and had fans like Karen O from the Yeah Yeah Yeahs and the Flaming Lips’ Wayne Coyne.\u003c/p>\n\u003cp>Ashley kept making music, playing with Sir Lord Von Raven and working on his own material, releasing a few solo records along the way. Two years later, he’d turn his home and his mastery of reverb into a business. \u003c/p>\n\u003cp>\u003cb>The Nonstop Tape\u003c/b>\u003c/p>\n\u003cp>Since he first bought an Tascam 8-track reel-to-reel back when he was in Texas, Ashley has been recording music non-stop. Which is part of the reason he could never find a permanent place to live in Oakland; the few times he did have a steady place, like the storefront on Broadway or the apartment on Grand Avenue, he says he got kicked out because he made music there.\u003c/p>\n\u003cp>In the meantime, Ashley managed to make remarkably good lo-fi home recordings wherever he could and with whatever equipment he had available.\u003c/p>\n\u003cp>“He had an apartment off of Grand Avenue, near the lake (Lake Merritt). It was a tiny studio apartment and he had his tape machine there. This was before Gris Gris — he was recording a lot of his first solo record,” Michel said. “I wasn’t even a part of it; I was just there, hanging out with him and watching him do his thing. And he told me, ‘Hey, can you hold this button down while I record this solo? It’s broken.'”\u003c/p>\n\u003cp>In a few cases, Ashley used temporary spaces where playing loud music wasn’t a problem. When he recorded the band Battleship, he rented out the Stork Club on a Tuesday afternoon. He recorded the first Gris Gris in the basement of a house the two shared in El Cerrito.\u003c/p>\n\u003cp>“Home of Metallica and Creedence (Clearwater Revival)!” Michel said.\u003c/p>\n\u003cfigure id=\"attachment_11727405\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11727405\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/lqrecording_MCM8894-800x532.jpg\" alt=\"Ashley at work in Creamery Analog\" width=\"800\" height=\"532\">\u003cfigcaption class=\"wp-caption-text\">Ashley at work in Creamery Analog \u003ccite>(Photo: Mark Murrman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ashley had gone to a few shows at the Ghost Town Gallery and even stayed there for a short while when he was down-and-out before he moved in in 2006. He didn’t like the neighborhood that surrounded the old creamery at all — one of the first times he went to a show there, someone smashed one of his car windows. But the young, artistically-minded tenants, most of them musicians themselves, didn’t care that he recorded music all day and the space sounded really good.\u003c/p>\n\u003cp>“I stayed there for a week in 2003,” Ashley said. “I remember going around the building, and that room that I eventually used for a reverb chamber had a trampoline in it and somebody had left some tabla drums. I remember hanging out there with some weirdo hippie chick who was jumping on the trampoline and I was playing those tabla drums, and I thought ‘This is kinda weird, but this room sounds amazing!'”\u003c/p>\n\u003cp>Ashley turned his bedroom into a control room and pieced together whatever equipment he could to start the studio. His mixer, probably the second most important part of his studio after his Tascam 16-track, was found abandoned in another room of Ghost Town. So, he charged $15 an hour for his studio and services, which allowed for friends and up-and-coming artists to afford to record there. Over time, he learned how to make it all sound good.\u003c/p>\n\u003cp>“If you listen to the Sir Lord Von Raven record, since it took us seven years to record, you’ll hear the fidelity get better throughout it,” Ashley said. “You’ll be able figure out which era of my studio was what because it goes from ‘I don’t know what the f*ck I’m doing’ to ‘I know exactly what I’m doing.'”\u003c/p>\n\u003cp>By 2009, Ashley was recording bands like the Mantles and Dutchess and the Duke, and magazines such as \u003ci>Mojo\u003c/i> would be filled with reviews of releases he recorded, all of them dropping his name.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/rUq_UJyPfeY'\n title='//www.youtube.com/embed/rUq_UJyPfeY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“He was able to not only conjure up the warmest, biggest noises in that room, but also capture them to tape,” Dutchess and Duke’s Kimberly Morrison said. “Recording at the Creamery was remarkable… I felt like Ariel in \u003ci>The Little Mermaid\u003c/i> when she finally gets her voice and she can’t even believe she’s the one making such sounds.”\u003c/p>\n\u003cp>Around that time is when Ashley increased his hourly rate to $30 an hour. He says he had to because the Bay Area was getting more expensive, but it allowed him to quit his part-time job cutting lenses at an optometrist’s office and finally work on music full-time.\u003c/p>\n\u003cp>“For four or five years, it was my only source of income,” Ashley said. “I wouldn’t say I was doing really well, but I wasn’t in debt.”\u003c/p>\n\u003cp>\u003cb>Apple Pie and Genocide\u003c/b>\u003c/p>\n\u003cp>Back in April of this year, the tenants of Ghost Town Gallery \u003ca href=\"http://www.mercurynews.com/crime-courts/ci_29962176/oakland-ghost-town-gallery-becomes-ghost-town?source=infinite-up\" target=\"_blank\" rel=\"noopener\">went to court \u003c/a>to stop their landlord from evicting them. For over a decade the former creamery on San Pablo was a creative epicenter of West Oakland, hosting bands such as Deerhoof, Xiu Xiu and \u003ca href=\"http://www.sfweekly.com/shookdown/2015/08/26/we-followed-thee-oh-sees-to-a-packed-last-minute-show-in-oakland\" target=\"_blank\" rel=\"noopener\">Thee Oh Sees\u003c/a>. According to reports, Ghost Town’s owner Mehrdad Dokhanchy pushed them out because there were too many people living there and modifications the tenants made to the building were endangering its residents.\u003c/p>\n\u003cp>Ashley didn’t get involved. It was bad enough that his recording work had declined over the previous years, forcing him to go back to his part-time job at the optometrist’s office. He just wanted to concentrate on making music.\u003c/p>\n\u003cp>“I just couldn’t deal with it,” Ashley said. “The walls were paper thin and every day I heard people threatening to kill each other in the hallway.”\u003c/p>\n\u003cfigure id=\"attachment_11727409\" class=\"wp-caption alignright\" style=\"max-width: 399px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11727409\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/lqrecording_MCM8943-399x600.jpg\" alt=\"Ashley and Oscar Michel recording at the Creamery\" width=\"399\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lqrecording_MCM8943-399x600.jpg 399w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lqrecording_MCM8943-400x602.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/lqrecording_MCM8943.jpg 532w\" sizes=\"(max-width: 399px) 100vw, 399px\">\u003cfigcaption class=\"wp-caption-text\">Ashley and Oscar Michel recording at the Creamery \u003ccite>(Photo: Mark Murrman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The night the eviction notice was posted on the Ghost Town Gallery door might as well have been a wake. He and his friends listened to recordings he made there over the years while they packed everything up. \u003ca href=\"http://chrisstroffolino.blogspot.com/2016/05/oaklands-creamery-studio-latest.html\" target=\"_blank\" rel=\"noopener\">The Creamery memorial was documented\u003c/a> by a frequent collaborator with Ashley, Chris Stroffolino.\u003c/p>\n\u003cp>“I’ve worked at more expensive (and more “state of the art”) studios, and The Creamery was better than all of them,” Stroffolino wrote on his blog. “Greg provided a much-needed service to the community, and was able to eke out a living as a musician/producer in an era where that is becoming increasingly impossible (unless one is willing to relocate to LA or Nashville, and sell one’s soul to the corporate conglomerates).”\u003c/p>\n\u003cp>While sitting in Texas, planning his next move (probably setting up a new studio outside of Austin), Ashley tells me that what bothers him now is how he left some of his friends’ projects in the lurch. A series of recording dates were canceled — some bands had already bought plane tickets to fly to Oakland — and he was in the middle of working on a friend’s solo project that will have to be shelved now. There are other studios in Oakland those bands can use — there’s even one across the street from the Creamery called \u003ca href=\"https://www.facebook.com/santorecordings/\" target=\"_blank\" rel=\"noopener\">Santo Recording\u003c/a> — but they’re nothing like what Ashley had created with the Creamery.\u003c/p>\n\u003cp>“It’s a lot prettier inside Santo,” Ashley said. “But they charge twice as much as I do. And they won’t let you smoke cigarettes, but whatever.”\u003c/p>\n\u003cp>\u003ci>Below is a song Ashley recorded in Texas about leaving Oakland. \u003cb>Warning:\u003c/b> there are some explicit lyrics.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Filmmaker George Lucas' \u003ca href=\"http://www.sfgate.com/art/article/George-Lucas-proposes-Presidio-museum-4331417.php\" target=\"_blank\">dream of a landmark museum\u003c/a> to house his collection of American popular art and media won't happen in Chicago after all.\u003c/p>\n\u003cp>Instead, \u003ca href=\"http://lucasmuseum.org/\" target=\"_blank\">the museum\u003c/a> will be located in California. Where exactly remains an unknown, although Mayor Ed Lee's office said efforts are continuing to persuade Lucas to build in San Francisco.\u003c/p>\n\u003cp>The Chicago Tribune \u003ca href=\"http://www.chicagotribune.com/news/local/breaking/ct-lucas-museum-california-20160624-story.html\" target=\"_blank\">quotes Lucas\u003c/a> as saying he's moving on after encountering determined opposition from those who challenged the city's plan to turn over a site on the Lake Michigan waterfront:\u003c/p>\n\u003cblockquote>\u003cp>\"No one benefits from continuing their seemingly unending litigation to protect a parking lot,\" filmmaker George Lucas said in a statement. \"The actions initiated by Friends of Parks and their recent attempts to extract concessions from the city have effectively overridden approvals received from numerous democratically elected bodies of government.\"\u003c/p>\u003c/blockquote>\n\u003cp>Mayor Rahm Emanuel also issued a statement announcing Lucas was moving on.\u003c/p>\n\u003cp>\"Unfortunately, time has run out and the moment we've consistently warned about has arrived,\" Emanuel said. \"Chicago's loss will be another city's gain. ... We tried to find common ground to resolve the lawsuit — the sole barrier preventing the start of the museum's construction. But despite our best efforts to negotiate a common solution that would keep this tremendous cultural and economic asset in Chicago, Friends of the Parks chose to instead negotiate with themselves while Lucas negotiated with cities on the West Coast.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That new location could be -- \u003cem>could be\u003c/em> -- San Francisco. Mayor Lee and other city officials have been trying to entice Lucas by offering sites ranging from a parcel on the Embarcadero south of the Bay Bridge and, more recently, \u003ca href=\"http://www.sfchronicle.com/bayarea/article/Lucas-Museum-could-boost-Treasure-Island-transit-7513391.php\" target=\"_blank\">a location on Treasure Island\u003c/a>.\u003c/p>\n\u003cp>Lucas had coveted a site near Crissy Field in the Presidio, but his organization's painstakingly developed plan to build there was \u003ca href=\"http://ww2.kqed.org/news/2014/02/03/presidio-group-rejects-lucas-museum-proposal/\" target=\"_blank\">rejected by the private trust\u003c/a> that controls the property.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Friday, mayoral spokeswoman Deirdre Hussey said Lee \"has always believed that San Francisco is the best place for the Lucas Museum of Narrative Art.\" She added that the mayor and members of the Board of Supervisors \"are working closely with the Lucas team to have a home for his world-class collection on Treasure Island.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Filmmaker George Lucas' \u003ca href=\"http://www.sfgate.com/art/article/George-Lucas-proposes-Presidio-museum-4331417.php\" target=\"_blank\">dream of a landmark museum\u003c/a> to house his collection of American popular art and media won't happen in Chicago after all.\u003c/p>\n\u003cp>Instead, \u003ca href=\"http://lucasmuseum.org/\" target=\"_blank\">the museum\u003c/a> will be located in California. Where exactly remains an unknown, although Mayor Ed Lee's office said efforts are continuing to persuade Lucas to build in San Francisco.\u003c/p>\n\u003cp>The Chicago Tribune \u003ca href=\"http://www.chicagotribune.com/news/local/breaking/ct-lucas-museum-california-20160624-story.html\" target=\"_blank\">quotes Lucas\u003c/a> as saying he's moving on after encountering determined opposition from those who challenged the city's plan to turn over a site on the Lake Michigan waterfront:\u003c/p>\n\u003cblockquote>\u003cp>\"No one benefits from continuing their seemingly unending litigation to protect a parking lot,\" filmmaker George Lucas said in a statement. \"The actions initiated by Friends of Parks and their recent attempts to extract concessions from the city have effectively overridden approvals received from numerous democratically elected bodies of government.\"\u003c/p>\u003c/blockquote>\n\u003cp>Mayor Rahm Emanuel also issued a statement announcing Lucas was moving on.\u003c/p>\n\u003cp>\"Unfortunately, time has run out and the moment we've consistently warned about has arrived,\" Emanuel said. \"Chicago's loss will be another city's gain. ... We tried to find common ground to resolve the lawsuit — the sole barrier preventing the start of the museum's construction. But despite our best efforts to negotiate a common solution that would keep this tremendous cultural and economic asset in Chicago, Friends of the Parks chose to instead negotiate with themselves while Lucas negotiated with cities on the West Coast.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That new location could be -- \u003cem>could be\u003c/em> -- San Francisco. Mayor Lee and other city officials have been trying to entice Lucas by offering sites ranging from a parcel on the Embarcadero south of the Bay Bridge and, more recently, \u003ca href=\"http://www.sfchronicle.com/bayarea/article/Lucas-Museum-could-boost-Treasure-Island-transit-7513391.php\" target=\"_blank\">a location on Treasure Island\u003c/a>.\u003c/p>\n\u003cp>Lucas had coveted a site near Crissy Field in the Presidio, but his organization's painstakingly developed plan to build there was \u003ca href=\"http://ww2.kqed.org/news/2014/02/03/presidio-group-rejects-lucas-museum-proposal/\" target=\"_blank\">rejected by the private trust\u003c/a> that controls the property.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Friday, mayoral spokeswoman Deirdre Hussey said Lee \"has always believed that San Francisco is the best place for the Lucas Museum of Narrative Art.\" She added that the mayor and members of the Board of Supervisors \"are working closely with the Lucas team to have a home for his world-class collection on Treasure Island.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Former military structures overlooking the San Francisco Bay will be transformed into the setting for \u003ca href=\"http://www.for-site.org/project/home-land-security/\" target=\"_blank\" rel=\"noopener\">Home Land Security\u003c/a> — a free, large-scale art show this fall on the theme of security.\u003c/p>\n\u003cp>The non-profit art organization behind the wildly popular Ai Wei Wei show on Alcatraz in 2014 — the \u003ca href=\"http://www.for-site.org/\" target=\"_blank\" rel=\"noopener\">FOR-SITE Foundation\u003c/a> — has invited 16 big name contemporary artists from nine different countries to create art installations in five of the long-abandoned bunkers located at Fort Winfield Scott and the Presidio in San Francisco.\u003c/p>\n\u003cp>The National Park Service, which is partnering with FOR-SITE alongside the Golden Gate National Parks Conservancy and the Presidio Trust to mount the exhibition, is opening a few of these structures to the public for the first time.\u003c/p>\n\u003cfigure id=\"attachment_11727403\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11727403\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/2-farrow-mosque-e1466715257544-800x450.jpg\" alt=\"‘Mosque III (After National Mosque of Nigeria, Abuja),’ 2010; 'tank-killer' missiles, bullets, brass, steel, gun trigger; 25 x 29 x 31 in.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2-farrow-mosque-e1466715257544-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2-farrow-mosque-e1466715257544-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2-farrow-mosque-e1466715257544-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2-farrow-mosque-e1466715257544-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2-farrow-mosque-e1466715257544-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2-farrow-mosque-e1466715257544-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of the works featured in the upcoming ‘Homeland Security’ show: ‘Mosque III (After National Mosque of Nigeria, Abuja),’ 2010; ‘tank-killer’ missiles, bullets, brass, steel, gun trigger; 25 x 29 x 31 in. \u003ccite>(Photo: Jock McDonald/Courtesy Al Farrow and Catharine Clark Gallery, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Work by internationally known artists including American video artist Bill Viola, American installation artist Liza Lou and Korean sculptor Do Ho Suh, as well as Bay Area artists such as Al Farrow, Trevor Paglen and Michele Pred, will reflect on the impact of security issues on our lives. The exhibition will include pieces created in a wide variety of media including painting, sculpture, performance, and video.\u003c/p>\n\u003cp>Former Bay Area military outposts have been used for artistic purposes before, though this happens quite rarely. FOR-SITE previously did a show the mark the 75th anniversary of the Golden Gate Bridge in 2012 at Fort Point (\u003cem>International Orange\u003c/em>), and the Headlands Center for the Arts in Marin used to be the home of Fort Barry.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Home Land Security\u003c/em> runs Sept. 10 — Dec. 18 at five sites in Fort Winfield Scott and the Presidio in San Francisco. Details \u003ca href=\"http://www.for-site.org/project/home-land-security/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Former military structures overlooking the San Francisco Bay will be transformed into the setting for \u003ca href=\"http://www.for-site.org/project/home-land-security/\" target=\"_blank\" rel=\"noopener\">Home Land Security\u003c/a> — a free, large-scale art show this fall on the theme of security.\u003c/p>\n\u003cp>The non-profit art organization behind the wildly popular Ai Wei Wei show on Alcatraz in 2014 — the \u003ca href=\"http://www.for-site.org/\" target=\"_blank\" rel=\"noopener\">FOR-SITE Foundation\u003c/a> — has invited 16 big name contemporary artists from nine different countries to create art installations in five of the long-abandoned bunkers located at Fort Winfield Scott and the Presidio in San Francisco.\u003c/p>\n\u003cp>The National Park Service, which is partnering with FOR-SITE alongside the Golden Gate National Parks Conservancy and the Presidio Trust to mount the exhibition, is opening a few of these structures to the public for the first time.\u003c/p>\n\u003cfigure id=\"attachment_11727403\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11727403\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/2-farrow-mosque-e1466715257544-800x450.jpg\" alt=\"‘Mosque III (After National Mosque of Nigeria, Abuja),’ 2010; 'tank-killer' missiles, bullets, brass, steel, gun trigger; 25 x 29 x 31 in.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2-farrow-mosque-e1466715257544-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2-farrow-mosque-e1466715257544-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2-farrow-mosque-e1466715257544-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2-farrow-mosque-e1466715257544-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2-farrow-mosque-e1466715257544-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2-farrow-mosque-e1466715257544-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of the works featured in the upcoming ‘Homeland Security’ show: ‘Mosque III (After National Mosque of Nigeria, Abuja),’ 2010; ‘tank-killer’ missiles, bullets, brass, steel, gun trigger; 25 x 29 x 31 in. \u003ccite>(Photo: Jock McDonald/Courtesy Al Farrow and Catharine Clark Gallery, San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Work by internationally known artists including American video artist Bill Viola, American installation artist Liza Lou and Korean sculptor Do Ho Suh, as well as Bay Area artists such as Al Farrow, Trevor Paglen and Michele Pred, will reflect on the impact of security issues on our lives. The exhibition will include pieces created in a wide variety of media including painting, sculpture, performance, and video.\u003c/p>\n\u003cp>Former Bay Area military outposts have been used for artistic purposes before, though this happens quite rarely. FOR-SITE previously did a show the mark the 75th anniversary of the Golden Gate Bridge in 2012 at Fort Point (\u003cem>International Orange\u003c/em>), and the Headlands Center for the Arts in Marin used to be the home of Fort Barry.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Jury Finds Led Zeppelin Did Not Steal Riff for 'Stairway'",
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"content": "\u003cp>Led Zeppelin did not steal a riff from an obscure 1960s instrumental tune to use for the introduction of its classic rock anthem “Stairway to Heaven,” a federal court jury decided Thursday.\u003c/p>\n\u003cp>The verdict in Los Angeles settles a point that music fans have debated for decades but didn’t find its way to court until two years ago, when the trustee for the late Randy Craig Wolfe filed a copyright lawsuit.\u003c/p>\n\u003cp>The trust claimed that Led Zeppelin guitarist Jimmy Page lifted a passage that Wolfe, better known as Randy California, wrote for “Taurus,” a short work he recorded with his band Spirit in 1968.\u003c/p>\n\u003cp>Page and singer Robert Plant showed little emotion as the verdict was read then hugged their lawyers.\u003c/p>\n\u003cp>Jurors found the trust had cleared a few hurdles, including that Page and Plant had “access” to “Taurus,” meaning they would have been familiar with it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Trust attorney Francis Malofiy said he was sad and disappointed by the jury’s decision.\u003c/p>\n\u003cp>“The reality is that we proved access, but they could never hear what they had access to,” Malofiy said. “It’s bizarre.”\u003c/p>\n\u003cp>In trying to show the works were substantially similar, the trust had the tricky task of relying on sheet music because that’s what is filed with the U.S. Copyright Office.\u003c/p>\n\u003cp>Jurors were not played the “Taurus” recording, which contains a section that sounds very similar to the instantly recognizable start of “Stairway.” Instead, they were played guitar and piano renditions by musicians on both sides of the case. Not surprisingly, the plaintiff’s version on guitar sounded more like “Stairway” than the defense version on piano.\u003c/p>\n\u003cp>Page and Plant, who wrote the “Stairway” lyrics, said their creation was an original. In several hours of often-animated and amusing testimony, they described the craft behind one of rock’s best-known songs, all the while denying knowledge of one of the genre’s least-known tunes.\u003c/p>\n\u003cp>Plant cracked up the courtroom when said he didn’t remember most people he had hung out with over the years.\u003c/p>\n\u003cp>In closing arguments, Malofiy criticized Page and Plant’s “selective” memories and “convenient” truths on the witness stand.\u003c/p>\n\u003cp>Experts for both sides dissected both compositions, agreeing mainly that they shared a descending chord progression that dates back three centuries as a building block in lots of songs.\u003c/p>\n\u003cp>The trust’s experts, however, went further and noted several other similarities that made the two works unlike the many other tunes they were compared to, including “My Funny Valentine,” and The Beatles’ “Michelle.”\u003c/p>\n\u003cp>Led Zeppelin’s lawyer said the trust didn’t own the copyright and that the plaintiff failed to prove a case that should have been brought more than 40 years ago when Wolfe was alive and Page and singer Robert Plant would have had better memories.\u003c/p>\n\u003cp>“How can you wait a half century and criticize people … 45 years later for the delay you caused?” Peter Anderson said. “They should have sued in 1972.”\u003c/p>\n\u003cp>Wolfe, who drowned in 1997 saving his son at a beach in Hawaii, had spoken with lawyers over the years about suing, but they never took on the case because it was old, said Glen Kulik another lawyer for the trust. A Supreme Court ruling in 2014 over the movie “Raging Bull” opened the door to bring a copyright case at any time with damages only dating back three years and continuing into the future.\u003c/p>\n\u003cp>Malofiy asked jurors to give Wolfe a songwriting credit and millions of dollars in damages, though he didn’t provide a specific figure. The defense said record label profits from the past five years were $868,000, but Anderson reminded jurors that only a fraction of the eight-minute song was being challenged.\u003c/p>\n\u003cp>The trial took jurors and lucky observers who managed to pack into the courtroom on a musical journey through the late 1960s and early 1970s, when Spirit, a California psychedelic group that blended jazz and rock was achieving stardom as the hard-rocking British band was being founded.\u003c/p>\n\u003cp>Stops on the tour of testimony included Spirit shows at “love-ins” during the “Summer of Love,” Led Zeppelin’s U.S. debut as an opening act for Spirit and Vanilla Fudge in Denver in December 1968 and, finally, to a country house in the south of England where Page, Plant and bassist John Paul Jones described how “Stairway” was born.\u003c/p>\n\u003cp>Page said his ambition was to write a song that would accelerate to a crescendo and he first shared the opening with keyboardist and bassist John Paul Jones to get an ally in his scheme.\u003c/p>\n\u003cp>Singer Robert Plant said he was sitting by the fire at Headley Grange in the spring of 1970, when Page played the intro on acoustic guitar and he offered the start of a couplet he had been working on: “There’s a lady who’s sure all that glitters is gold/and she’s buying a stairway to heaven.”\u003c/p>\n\u003cp>Jurors never heard a note from Page or Plant live, but they were treated to lo-fi vintage recordings of the band creating the song, renditions on guitar and piano by other musicians and, finally, the full recording of one of rock’s most enduring anthems.\u003c/p>\n\u003cp>Page, 72, bobbed his head and moved to the tune while Plant, 67, sat still. Both men wore sharp suits, white shirts and ties throughout the trial and had their hair pulled back in neat ponytails.\u003c/p>\n\u003cp>They didn’t chat with anyone in the gallery, including several fans, and were escorted by personal bodyguards to the restroom and in and out of the federal courthouse each day. One afternoon, a group of women clapped and Page flashed a smile as the rock stars were hustled across the courthouse corridor to a private hallway.\u003c/p>\n\u003cp>The case is not the first time Led Zeppelin was accused of swiping another artist’s work. The lawsuit listed at least six other songs in which the band reached settlements over songwriting credits for works including “Whole Lotta Love,” ”The Lemon Song,” and “Dazed and Confused.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Led Zeppelin did not steal a riff from an obscure 1960s instrumental tune to use for the introduction of its classic rock anthem “Stairway to Heaven,” a federal court jury decided Thursday.\u003c/p>\n\u003cp>The verdict in Los Angeles settles a point that music fans have debated for decades but didn’t find its way to court until two years ago, when the trustee for the late Randy Craig Wolfe filed a copyright lawsuit.\u003c/p>\n\u003cp>The trust claimed that Led Zeppelin guitarist Jimmy Page lifted a passage that Wolfe, better known as Randy California, wrote for “Taurus,” a short work he recorded with his band Spirit in 1968.\u003c/p>\n\u003cp>Page and singer Robert Plant showed little emotion as the verdict was read then hugged their lawyers.\u003c/p>\n\u003cp>Jurors found the trust had cleared a few hurdles, including that Page and Plant had “access” to “Taurus,” meaning they would have been familiar with it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Trust attorney Francis Malofiy said he was sad and disappointed by the jury’s decision.\u003c/p>\n\u003cp>“The reality is that we proved access, but they could never hear what they had access to,” Malofiy said. “It’s bizarre.”\u003c/p>\n\u003cp>In trying to show the works were substantially similar, the trust had the tricky task of relying on sheet music because that’s what is filed with the U.S. Copyright Office.\u003c/p>\n\u003cp>Jurors were not played the “Taurus” recording, which contains a section that sounds very similar to the instantly recognizable start of “Stairway.” Instead, they were played guitar and piano renditions by musicians on both sides of the case. Not surprisingly, the plaintiff’s version on guitar sounded more like “Stairway” than the defense version on piano.\u003c/p>\n\u003cp>Page and Plant, who wrote the “Stairway” lyrics, said their creation was an original. In several hours of often-animated and amusing testimony, they described the craft behind one of rock’s best-known songs, all the while denying knowledge of one of the genre’s least-known tunes.\u003c/p>\n\u003cp>Plant cracked up the courtroom when said he didn’t remember most people he had hung out with over the years.\u003c/p>\n\u003cp>In closing arguments, Malofiy criticized Page and Plant’s “selective” memories and “convenient” truths on the witness stand.\u003c/p>\n\u003cp>Experts for both sides dissected both compositions, agreeing mainly that they shared a descending chord progression that dates back three centuries as a building block in lots of songs.\u003c/p>\n\u003cp>The trust’s experts, however, went further and noted several other similarities that made the two works unlike the many other tunes they were compared to, including “My Funny Valentine,” and The Beatles’ “Michelle.”\u003c/p>\n\u003cp>Led Zeppelin’s lawyer said the trust didn’t own the copyright and that the plaintiff failed to prove a case that should have been brought more than 40 years ago when Wolfe was alive and Page and singer Robert Plant would have had better memories.\u003c/p>\n\u003cp>“How can you wait a half century and criticize people … 45 years later for the delay you caused?” Peter Anderson said. “They should have sued in 1972.”\u003c/p>\n\u003cp>Wolfe, who drowned in 1997 saving his son at a beach in Hawaii, had spoken with lawyers over the years about suing, but they never took on the case because it was old, said Glen Kulik another lawyer for the trust. A Supreme Court ruling in 2014 over the movie “Raging Bull” opened the door to bring a copyright case at any time with damages only dating back three years and continuing into the future.\u003c/p>\n\u003cp>Malofiy asked jurors to give Wolfe a songwriting credit and millions of dollars in damages, though he didn’t provide a specific figure. The defense said record label profits from the past five years were $868,000, but Anderson reminded jurors that only a fraction of the eight-minute song was being challenged.\u003c/p>\n\u003cp>The trial took jurors and lucky observers who managed to pack into the courtroom on a musical journey through the late 1960s and early 1970s, when Spirit, a California psychedelic group that blended jazz and rock was achieving stardom as the hard-rocking British band was being founded.\u003c/p>\n\u003cp>Stops on the tour of testimony included Spirit shows at “love-ins” during the “Summer of Love,” Led Zeppelin’s U.S. debut as an opening act for Spirit and Vanilla Fudge in Denver in December 1968 and, finally, to a country house in the south of England where Page, Plant and bassist John Paul Jones described how “Stairway” was born.\u003c/p>\n\u003cp>Page said his ambition was to write a song that would accelerate to a crescendo and he first shared the opening with keyboardist and bassist John Paul Jones to get an ally in his scheme.\u003c/p>\n\u003cp>Singer Robert Plant said he was sitting by the fire at Headley Grange in the spring of 1970, when Page played the intro on acoustic guitar and he offered the start of a couplet he had been working on: “There’s a lady who’s sure all that glitters is gold/and she’s buying a stairway to heaven.”\u003c/p>\n\u003cp>Jurors never heard a note from Page or Plant live, but they were treated to lo-fi vintage recordings of the band creating the song, renditions on guitar and piano by other musicians and, finally, the full recording of one of rock’s most enduring anthems.\u003c/p>\n\u003cp>Page, 72, bobbed his head and moved to the tune while Plant, 67, sat still. Both men wore sharp suits, white shirts and ties throughout the trial and had their hair pulled back in neat ponytails.\u003c/p>\n\u003cp>They didn’t chat with anyone in the gallery, including several fans, and were escorted by personal bodyguards to the restroom and in and out of the federal courthouse each day. One afternoon, a group of women clapped and Page flashed a smile as the rock stars were hustled across the courthouse corridor to a private hallway.\u003c/p>\n\u003cp>The case is not the first time Led Zeppelin was accused of swiping another artist’s work. The lawsuit listed at least six other songs in which the band reached settlements over songwriting credits for works including “Whole Lotta Love,” ”The Lemon Song,” and “Dazed and Confused.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
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"id": "baycurious",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"meta": {
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"source": "WNYC"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
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